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\Ghe Pen is mightier than the\Sword, but thel 
Gype writer is easier to handle. 


-Vaudeville Playlets- 

“803” “Tony” “Number Five” “The Oath v 
“The Hypnotic Burglar” “Slave of the Flake” 
“The Plain Clothes Man” “Nifty Nonsense” 
“Diversions” “Chains” ‘‘Fate” “Intelligence” 
“Nerve” “Toys of Fate” “Uncle” 
“The Intruder” Etc. Etc. 


Photo Plays 

“The Symbol” 
“Dad” 

“The Final 
Reckoning r 

“Five of Clubs” 

“Searing Flames” 

“Fettered” 

Etc. Etc. 


Vaudeville 
Material 
of every 
Description 
Written to 
Order 


Sketches 

Staged 


Plays 

Doctored 


MEMBER OF 
Society of American Magicians 
National Conjuror’s Association 
National Vaudeville Arties’ Club 



Magical Di¬ 
versions and 
Novelty 
Sketches 

“Twenty Minutes 
with the Spirits” 
“The Toll of 
Satan” 
“Gambols of 

the Ghosts’ 1 
The Crystal 
Gazer” 

Etc, Etc. 


Special 
Ventriloquial 
Adts W ritten 


Comedy 
Vaudeville 
Cross Fire 


Magical 

Patter 


Novelty Ads 
Written 
and 
Staged 






























Vaudeville 

Mind Reading 

and 

Kindred phenomena 

by 

DAVID J. LUSTIG 

(La Vellma) 



19 2 0 

Introduction especially written for this booh 
by 

HENRY HATTON 


PUBLISHER 

R. W. DOIDGE, 16 ELM STREET 
SOMERVILLE, MASS. 
























QxVt 553 
*b 3 


COPYRIGHT 1920 

ROBERT W. DOIDGE 

SOMERVILLE, MASS. 


©CU571203 


JUN -2 1920 






# ^ INTRODUCTION^ 


I doubt whether I shall ever forget the first time I saw Robert Heller, charming 
entertainer. It was sometime in the early sixties, at the Chinese Assembly Rooms, 
New York, his first appearance, an invitation to the press. He was almost unheard 
of. His advance agent, John Hall Wilton, who brought Anderson, the Wizard of 
the North, to this country, believing that Heller would make a more favorable 
impression as a Frenchman, persuaded him, clever mimic that he was, to affect a 
foreign accent. This he did for a while, but soon gave it up on the plea that he had 
been long enough in the country to learn the language. His opening tricks were 
nothing surprising, but when he reached his Second Sight, which was then new, at 
least to our people, his reputation was made. His audience was made up, in great 
part, of bright newspaper men, who set their wits to work to solve the secret of that 
clever trick. Many were the guesses till John Savage, who figured, years after in 
this country and in France as the “head center” of the Fenian Brotherhood, and that 
night represented the New York Tribune, started up, excitable Irishman that he was., 
exlcaiming in a loud voice, “Ventriloquism, by Jove,” and that was accepted by the 
majority of the audience as the answer to the puzzle. 

From that time to the present there has been a craving on a great part of the 
public to know the secret of this and similar tricks in which the performer appears 
to read the most hidden thoughts of his audience. Nor is this desire confined to con¬ 
jurers or those with a liking for so-called magic. Personally I knew two highly 
cultivated men, one, Richard Watson Gilder, afterward editor-in-chief of the Century 
Magazine, who with a boon companion, a reverend gentleman known for his erudition 
and culture, repeatedly visited Heller’s entertainments in the vain attempt to solve 
the secret of Second Sight. 

At last comes the opportunity, for herein such men may gratify their curiosity 
by learning the mystery of mind-reading, crystal gazing, telepathy, thought-transfer¬ 
ence, and the thousand-and-one “occult” matters which unprincipled schemers have 
attempted to foist on a gullible public. All is laid bare in this volume, written in 
plain understandable language, so that “he who runs may read.” 

HENRY HATTON. 


3 





Vaudeville Mind Reading, Mental Telepathy or Silent Thought Transference is 
but clever conjuring presented by two or more persons well versed in the Art of 
Prestidigitation, which, as the dictionary has it, is persons “skilled in legerdemain;” 
legerdemain in its turn is defined: “A trick performed with suc-h art and adroitness 
that the manner or art eludes observation.” Putting it in a broad sense, Mind Read¬ 
ing is an art in which the medium pretends (in all seriousness) to describe articles, 
tell names, and to read and answer sealed questions by prescience (?)—many times 
seeking out the answers (?) in the crystal sphere. 

Audiences and even magicians themselves have many times been completely mys¬ 
tified by clever “wonder workers” appearing on the vaudeville stage who lay no claim 
to be exponents of genuine mental telepathy yet accomplish marvelous results. 

Learned men, of scientific trend, have been non-plussed and completely left in the 
dark as to methods employed by stage mind readers and after witnessing the unex¬ 
plainable (?) feats have reached the conclusion that 'they had actually witnessed 
demonstrations of genuine thought transference. 

Then again, there have been muscle readers, who have given public performances 
which have proven mystifying and interesting. 

I will endeavor to treat the various kinds of so-called mind reading specialties to¬ 
gether with what is known as Silent Thought Transference in this book, describing 
up-to-date methods of accomplishing this later day phenomena, that has baffled 
theatre goers in all corners of the globe. Some of the material I have gleaned from 
my scrapbooks and revised it in order to make this work a valuable one to both the 
professional and amateur who is interested and performs this sort of specialty. 

From time to time springs up a new mind reading act employing original and far 
out of the bea'ten track methods. Several of the newer sort familiar to me will be 
reserved as they have been explained to me by the originators themselves in confi¬ 
dence— and a confidence, to me, is a sacred thing. 

My former books, VAUDEVILLE MAGIC and VAUDEVILLE VENTRILO¬ 
QUISM, have been, and still are, in unusual demand. I am happy to know this. I 
have been a lover of magic and kindred arts for many years and have performed on 
the professional stage for a long time and I am sure that until the Superior Wielder 
of the Magic Wand drafts me into his ranks I shall never lose interest in this mysti¬ 
fying, fascinating art. And when I do get a contract and a route for the Great Beyond, 
even though I descend instead of rise, I am sure I have and will make friends in both 
places, so we can while away the time chatting on the mysteries of prestidigitation, 
and doing magic to our hearts’ content. 

I lay no claim to originality in parts of this book, as I have drawn many times on 
the contents of my. scrapbooks, but I do claim I have tried to make this work as com¬ 
plete as possible, avoiding all day dream material. 

If a book of this sort is appreciated by those interested in this kind of work, my 
humble efforts will have been well rewarded. 


1920. 


DAVID J. LUSTIG (La Vellma). 











CONTENTS 


INTRODUCTION. (By Henry Hatton) .Page 3 

FOREWORD .Page 4 


VAUDEVILLE MUSICAL SILENT THOUGHT TRANSFERENCE ACT. 

In which members of the audience whisper to the performer the titles of 
any musical selection and upon spectator requesting the lady at the piano 
to “Please play my selection," she not only plays it but names the selected 
piece. This is a method of performing the most baffling Silent Thought 
Transference act that has ever appeared upon the vaudeville stage.Page 7 

; VAUDEVILLE SECOND SIGHT ACT. 

Involving a new method of signalling to the medium, which enables her to 
go into audience, and, while apparently under the hypnotic control of the 
performer, accomplishes some difficult and complicated tests. Medium 
also writes initials of spectators and the names of selected cards.Page 12 

| VAUDEVILLE CRYSTAL-GAZING ACT. 

Complete method in which the performer, working in oriental garb, walks 
freely about stage, reading answers to queries, also names, etc., written by 
members of the audience. This sort of act has mystified audiences through¬ 
out the world. Performer consults crystal sphere, wherein he professes 
to read the various answers to questions put to him.Page 16 

! PHONETIC SYSTEM FOR SILENT THOUGHT TRANSMISSION ACTS. 

“Something new under the sun.” In this chapter this new and novel sys¬ 
tem is worked around the most baffling silent transmission act of them all; 
in which any selection whispered to the performer, in audience, is played 
by the blindfolded pianist on the stage.Page 17 

VAUDEVILLE FEATURE MIND READING ACT. 

Complete modus operandi of a mind reading act, the kind which always 
wins favor with an audience.Page 21 

WINGED MYSTERY. 

An unusual and baffling mind reading experiment with a sure-fire sensa¬ 
tional finale. A feature specialty of just the sort to bring a big mind-read¬ 
ing show to a close.Page 24 

t ON ANSWERING QUESTIONS. 

Treating how to answer “catch” questions as well as many others.......Page 26 

METHOD OF OBTAINING SEALED MESSAGES WRITTEN AT HOME BY 

MEMBERS OF THE AUDIENCE.Page 27 

f THE BLINDFOLD DRIVE. 

Various methods of staging and performing this great publicity getting 

stunt .Page 28 

I A SENSATIONAL PUBLICITY TEST. 

This is a stunt staged by the performer in the city or town he is playing, 
and is sure to bring forth columns of news stories that is far better than 
the usual news stuff.Page 30 

I A VAUDEVILLE MIND READING ACT. 

Complete from introductory speech to the transmitting of articles; with 
various tests for the medium, introducing a short fortune telling by cards, 
effect and all in all an act that can run from twenty minutes in vaudeville to 

an hour and a half in a theatre as the feature part of a road show.Page 31 















PUBLICITY STUNTS FOR MIND READERS. 

Six tests that can be performed in clubs, newspaper offices or hotels and 


will gain prestige for a clever entertainer.Page 37 

SILENT THOUGHT TRANSFERENCE. 

A method that has puzzled audiences in this country and abroad.Page 41 

A LATER DAY MIRACLE. 

A different sort of test after which an audience is left too dazed to even 
applaud until several minutes after the curtain has descended.Page 45 

MIND READING ACT FOR CLUB ENTERTAINERS. 


A non-electrical method of reading and answering questions, using the 
crystal ball feature. This is a new method and will be appreciated by the 
club and society entertainer.Page 46 

THE CHESS KNIGHT TOUR. 

Two methods of performing this entertaining feat, which can be introduced 
as a mind reading experiment.Page 48 

MENTOLOGY. 

A novel effect which enables the club entertainer to name every card in an 
entire deck, in order drawn without memorizing.Page 49 

VOICE CULTURE. 

A valuable chapter that should not be skimmed over but carefully read by 
all mental telepathists and conjurors.Page 51 

CONCLUSION. 

A general wind-up, touching on mind reading and kindred phenomena... .Page 53 

SUPPLEMENT 

GAMBOLS OF THE GHOSTS. 

A two4iour entertainment, introducing demonstrations in Mysticism, Men¬ 
tal Telepathy, Occultism and kindred weird and startling so-called Psychic 
Phenomena, winding up with a novel Crystal Gazing performance. This 
entertainment will meet the approval of all advanced entertainers, especially 
the performer who wishes to carry only a limited amount of paraphernalia. 

Pages 55 to 63 










VAUDEVILLE MIND READING 

BY 

DAVID J. LUSTIG (LA VELLMA) 


VAUDEVILLE—MUSICAL—SILENT THOUGHT TRANSFERANCE ACT 

In which is clearly explained a practical method of performing a musical silent 
thought transmission act that will baffle any audience. 

Performer enters and explains the nature of this act in which the audience, while 
he (performer) passes up and down the aisles, will whisper the title of any well known 
selection, either jazz, operatic, instrumental or popular favorites of the days of long 
ago, into his ear, and the lady (medium) seated at the piano, blindfolded, will play any 
selections chosen by members of the audience upon their requesting her to “Please play 
my selection.” 

No word is spoken by performer to lady seated at piano. The only words spoken 
during the act is the request made by spectators. 

An act of this sort will baffle the most intelligent audience. There are no con¬ 
cealed electrical apparatus upon the person of the performer who works entirely 
from among the audience. Yet with only the simple request made by the various 
choosers of musical selections (free choice given with no forcing by performer) of, 
“Please play my selection,” the blindfolded pianist on stage plays selection whispered. 

There are several methods, so it is claimed, of performing an act of this type. 
Follows full explanation of my own idea, of how a real feature act of this kind 
can positively be worked almost ANYWHERE, and which will be found to be practi¬ 
cal and not a day dream. 

This act, as given here, will go big at all times if the proper practice is given act 
and the necessary rehearsals held. Practice makes perfect and it must be remembered 
that Rome wasn’t built in a day. 

Signals play an important part in this act. Showmanship in any sort of mind 
reading specialty is THE important factor. 

The lady (medium) is blindfolded and takes her place at the piano. There are 
many methods of blindfolding and many means of faking the blindfold. This is but a 
small matter in this act unless only two persons, the performer and medium, are used. 
So if some wish to present this act without the use of an assistant they can do so by 
employing any one of the following methods of blindfolding which I glean from one of 
my scrapbooks. 

If an assistant is employed, a genuine blindfold may be used for madame. 

The first method of blindfolding and doctored blindfold is as follows.—Two blind¬ 
folds are used. One made of one or two layers of thin black material so thin that it 
may be easily seen through when placed on madame. The other blindfold is a genu¬ 
ine one which may be examined. It is the same as the first but many layers are 
folded over one another so it is impossible to see thru it. 

Performer conceals the thin bandage, rolled up, in his left hand, at the same time 
displays the thick one, stretched out between both hands, which he places over the 
eyes of one of the audience, who, of course, must admit he cannot see. On 'the way 
back to the stage, the performer quickly gathers up the thick bandage and conceals it 
in his right hand; this brings both hands together, momentarily, and when they are 


7 




again separated, needless to say, it is the thin bandage that is stretched between 
them. The assistant is now blindfolded, after which dispose of the duplicate blind¬ 
fold. 

Another Method:—Employing two bandages, one thin and the other thick, as 
explained in first method; the only difference being in the method of secretly chang¬ 
ing them. The performer comes on with the thick bandage only, which he passes for 
examination, taking care that several persons try it on and find they cannot see 
through it. Receiving it back he allows it to hang down in one hand in full view. 
Medium is conducted to a chair in the center of stage. The lady brings on thin hand- 
age, and when the chair is reached, while standing momentarily in front of it, she 
places her hands behind her back. Performer, who is now behind chair in readiness 
to apply bandage, requests her to be seated, at the same time taking the bandage from 
her and dropping the one examined on the chair upon which she si>ts. In conclusion, 
he removes the bandage, then, as lady rises, he takes up the one from the chair in the 
same hand; thus the two are carried off as one, or lady can place real one in bosom of 
dress while performer stands for a moment in front of her. 

Still another method of arranging the blindfold is to fold a piece of cloth of thin 
material down from the top and up from the bottom, thus leaving only one thickness 
of the cloth over the eyes of the medium. Should a linen blindfold be employed and 
the material found to be of too great a thickness pull out carefully a number of threads 
up and across material. As far as bothering with handing blindfold to audience for 
examination goes, it is but a. waste of time. 

When but two are presenting this act the lady at the piano must be able to watch 
the movements of the performer and “get" the signals he sends across the theatre. 
This is a rather difficult task for madame so I advise the employment of a concealed 
assistant back stage who, thru a suitable opening in backdrop or “set” can follow the 
performer’s slightest movements with a pair of field glasses, transmitting in turn sig¬ 
nals to medium by either whispers (assistant standing back of scenery before which 
lady at piano sits) ; by aid (and don’t laugh) of a piece of apparatus similar to the well 
known plate lifting apparatus sold in all magic shops and novelty depots; or by em¬ 
ploying the electrical apparatus as explained in two of the other vaudeville acts de¬ 
scribed elsewhere in this book. It is advisable to have the footlights, during the act, 
dimmed or off completely but house and border lights may be on full. This aids the 
assistant the better to watch performer in audience without the glare of the “foots” 
bothering his eyes. 

Signals or cues are “sent” by performer, who walks up and down the aisles, 
directly after name of selection is whispered in his ear after which he instructs the 
party who named selection to rise and request Madame to please play his selection. 

Now let us get down to real business. There are many different ways of signalling 
to the lady on the stage or to the concealed confederate and maybe the reader, with 
some thought, will be able to construct his own series of signals. 

The following signals will be found effective providing the performer goes about 
his work in a businesslike way—by this I mean without too many mysterious move¬ 
ments which, as some performers believe, aid their acts, but which in reality attract 

the attention of nearby spectators and make them suspicious—and in any form of 

mind reading the performer should not forget there are, in every audience, a certain 

number who have high ideas of their own so-called cleverness and will, if given the 
slightest opportunity, do all in their power to “stick” the performer and of course we 
know they know “exactly how all performances of this sort are done(?).” 

Here are the signals with which the charts and numbers of selection are signalled. 

1. Performer touches nearest spectator on shoulder. 

2. Performer rests hand, for an instant, on lapel of coat. (His own.) 

3. Performer touches mouth. 

4. Performer rests hand on back of spectator’s seat. 


8 


5. Performer tilts head downward toward spectator. 

6. Performer smiles at spectator. 

7. Performer nods head affirmatively as if agreeing with spectator. 

8. Performer moistens lips with tongue. 

9. Performer makes motions as if chewing. 

10. Performer idly fingers watch fob. 

Signal to medium or assistant that he is ready to “send”:—Performer motions 
(with forefinger as in pointing) to member of audience as he says to party, “Have you 
a selection?” or “Some selection, please?” Stop signal: Performer places thumb of 
either hand in pocket. 

Say for example a selection is named that the performer knows is the 14th selec¬ 
tion on chart number 5. He signals chart number first, thus: Performer tilts head 
downward toward spectator, as if listening for name of piece which he requests to be 
repeated. Assistant gets chart number five. To send 14 performer idly touches fob 
then rests hand on back of spectator's seat. Assistant translates from these two nat¬ 
ural movements 14, looks up chart No. 5 and down to the 14th selection and phones 
information to the lady at piano who in turn either names piece and plays enough 
of selection for spectator to recognize it and to acknowledge test has been a success, 
i or names and plays a bit of it. 

This act may also be worked by using what is known to only a few of our crowd 
as the Phonetic system, a method of signalling that, without a word being spoken, can 
transmit not only musical selections but ANYTHING, anywhere and at any time. This 
method is found elsewhere in this work. 

Care must always be taken by performer to impress on the minds of the spec¬ 
tators that it must be some well known selection they shall call for. Many times a 
: spectator will quickly think up a selection and in the majority of cases their selec¬ 
tion will be one that everyone is more or less familiar with. Ignore the fellow who 
has a list written out. While in the audience keep your eyes and ears open continual¬ 
ly. Don’t be caught napping. The mind reader’s game is not always the most simple 
form of entertaining. 

I have arranged a series of charts to help the performer. With time and patience 
he can arrange his own charts, adding to those given here. 

Make charts of from twenty to fifty of each variety of selections. Add to charts 
here given. It is no simple task but it can be done and it is the only way to work this 
act, outside of employing the Phonetic System, if you want to make it a success. 

Each chart must be numbered separately. Make a list from twenty-five to fifty 
i (whenever possible) of selections that are popular from various comic operas, musical 
comedy hits, old favorites and add to below given charts, numbering each chart sep¬ 
arately. 


WELL KNOWN SELECTIONS FROM OPERAS 

1— Misere from II Travatore. 

2— Cavaleri Rusticana Intermezzo. 

3— Bridal Chorus from Lohengrin. 

4— Anvil Chorus from II Travatore. 

5— 1 Dreamt I Dwelt in Marble Halls. 

6— Well known number from Tannhauser. 

Etc., etc. 

NATIONAL AIRS 


1—Star Spangled Banner. 
&—Russian National Air. 

3— Marseillaise. 

4— God Save the King. 

Etc, etc. 


9 



IRISH SONGS 


1— Wearing of the Green. 

2— River Shannon. 

3— Mother McCree. 

Adding at least ten songs familiar to the Sons of Old Eri 

OVERTURES 

1— Raymond. 

2— Poet and Peasant. 

3— Zampa. 

4— William Tell. 

5— Light Calvary. 

<3—Pirates of Penzance. 

7— The Peacemaker. 

8— Naval Students. 

9— Merry Wives of Windsor. 

10—The Forest King. 

Etc. etc. 

OPERAS 

1— Lucia Di Lammermoor. 

2— Martha. 

3— II Travatore. 

4— La Traviata. 

5— Carmen. 

6— Faust. 

7— Aida. 

8— Bohemian Girl. 

9— Pagliacci. 

10—Mignon. 

BALLADS 

1— You’re a Million Miles, etc. 

2— Tell It to the World. 

3— Tell Me. 

4— Beautiful Ohio. 

5— Now I Know. 

6— Boy of Mine. 

7— Carolina Sunshine. 

8— I Hear You Calling Me. 

9— Wond’ring. 

10— Kentucky Dreams. 

OLD SOUTHERN SONGS 

1— Swanee River. 

2— Dixie. 

3— Old Kentucky Home. 

4— Old Black Joe. 

5— Massa’s In De Cold, etc. 

Etc., etc. 

JAZZ OR RAGTIME 

1— When It Comes to Loving, etc. 

2— All the Quakers Are Shoulder, etc. 

3— 'Chong. 

4— You’d Be Surprised. 

5— That Ain't All. 


10 


6— The Vamp. 

7— How She Can Dance. 

8— Take Me to the Land of Jazz. 

9— Wait ’Till You, etc. 

10— That’s the Feller. 

Etc., etc. 

POPULAR 

1— My Swanee River Home. 

2— Tents of the Arabs. 

3— Caravan* 

4 — Golden Gate. 

5— My Baby’s Arms. 

6— Bye-Lo. 

7— Chinese Lullaby. 

8— Buddha. 

9— Peggy. 

10—Dardanella. 

“PLANTED” SELECTIONS 

1— Overture from Third Orchestral Suite in D Major (Bach). 

2— Sonata in C. Minor (Beethoven). 

3— Mazurka Brillante (Liszt). 

4 — Traumerei (Schuman). 

5— The Rosary (Nevin). 

6— “The Bubble” from High Jinks. 

7— “My Hero” from Chocolate Soldier. 

8— Inamorata (Marchetti). 

Etc., etc. 

Always signal number of CHART first by given cues, then use this “Stop” signal.— 
Performer nods head as if he wishes to convey to spectator that he has heard name of 
selection whispered; then send number of selection. 

Selections may run up to seventy-five or a hundred on some of the charts if per¬ 
former’s assistant or medium’s memorizing faculties are keen. If possible have the 
medium give names of composers as well as titles of selections. This adds greatly to 
the effect. Of course the madame must be up in a great variety of selections and 
this task is no simple feat, but a well trained memory surmounts numerous obstacles. 

You have a certain limit to your act and to help matters along it is worth while, 
and at times necessary, to have selections “planted” here and there in the audience. 
(Note chart of “planted” selections.) This takes up time and number of chart and 
selection number is signalled in regular way. Change your “planted” selections at 
every show and every day. This isn’t as easy as it seems, but it can and MUST be 
done for people interested in this type of performance usually attend the theatre 
twice or more during your engagement. 

Instead of having assistant memorize the various charts a simple method of pre- 
cedure is as follows:—Performer, in a book, arranges charts, one chart to a page, and 
sends number of chart and selection to assistant who looks up that particular chart 
by index in front of book and conveys necessary information to the Madame. Per¬ 
former, of course, must commit charts and selections to memory, and assistant need 
only memorize the various signals and be sworn to secrecy. 

Care should be taken in selecting a suitable assistant, as much depends on that 
worthy. It will be to the performer’s regret should he choose an assistant who is not 
quick-witted and one in whom complete confidence cannot be placed. Brains and 
perseverance will achieve unusual success in mind reading work. 

When transmitting cues to assistant, performer should act natural and all moves 
should be accomplished in a manner that will in no way arouse suspicion. After cues 


11 


have been sent, performer should always have each member of audience who have 
named a selection, rise and request the medium to, “Please play my selection.” Con¬ 
stant repetition of this request made by spectators themselves will throw the greater 
majority of “wisenheimers” off the scent. 

An act of this kind when presented in a convincing, painstaking manner, seldom 
fails to create a furore of favorable comment. 

Mouth to mouth publicity, as all entertainers know, is the finest sort of publicity 
and as far as the newspapers go, they will be glad to print, when space in their col¬ 
umns permits, plenty of dope on an act of this type as, in a way, it is news. Stories 
can be planted in the newspapers if the performer or the theatre employ the right 
sort of down-to-the-minute press agent. These stories should not be filled with 
superlatives but real stories that will actually make readers sit up and ponder. 

Many means of conveying signals from performer in audience to concealed assist¬ 
ant may be and have been devised. One method in which the performer signals by 
closing and opening different fingers on left or right hand. I do not wish to convey 
the impression that my method herein given is superior to all others, but I cannot see 
the ideas of transmitting signals via the finger code as in the first place asssitant 
would have a considerable task watching closely for the signals transmitted by the 
finger and the method I gave can be worked by performer standing between different 
rows and in finger method performer would have to remain in aisle throughout sig¬ 
naling. I have met one or two professional performers who claim they have used 
the finger system to good results, but personally I favor the method here given. 


A VAUDEVILLE SECOND SIGHT ACT 

Performer makes his entrance and explains to the audience that there are many 
second sight acts, a number of which have, no doubt, come their way, but in most of 
these acts a lot of chattering was done by the man in the audience. “In this act no 
word will be passed between myself and the medium throughout the entire act.” 

“Madame will perform more mystifying feats than merely to describe various ob¬ 
jects in the possession of the spectators ” continues the performer. “While apparently 
in a hypnotic trance, and blindfolded Madame will pass up and down the aisles and 
perform a number of complicated actions, suggested to me by any of the audience, in 
a whisper.” He again states that there will be no words passed between himself and 
the lady. He then tells of many different complicated tests successfully performed by 
the Madame such as to untie a gentleman’s necktie and place it around the arm of a 
lady seated several seats from him; borrow a card from a gentleman, a fountain pen 
from another and writing something on the card will hand the card to still another 
member of the audience seated some distance away. She will, at this performance 
select any cards whispered in the performer’s ear by various spectators. She will 
also, if so desired by any lady or gentleman tell them their initials or write them on a 
piece of paper. 

Lady makes her entrance onto stage and is introduced, in approved manner, to 
audience. She seats herself in chair while performer passes a blindfold to someone 
down front who, in turn, pass it to this one and that for the purposes of proving they 
employ a genuine blindfold. Lady is blindfolded by someone whom performer asks 
up on stage and she remains seated in chair while performer passes through audience 
jotting down various tests suggested and which are whispered into performer’s ear. 

A pack of unopened cards are now introduced and shuffled by some member of audi¬ 
ence. Persons here and there select cards. Several ladies and gentlemen are request¬ 
ed to give their initials to performer, all of these tests he jots down on pad he carries, > 
so as to keep track of the different tests the Madame is to be put through. 


12 






Now for a new principle which is introduced in this act. 

The method of transmitting the various tests and signals to the medium is done 
by performer, while making hypnotic passes, touching various parts of the medium’s 
forehead, ears, arms and stroking her hands. Signals of this sort have never before 
been introduced in an act of this sort and I believe is something new in mind reading. 
Old methods of making passes led medium to persons desiring tests but not signals as 
detailed in this act. 

A word of caution here: Performers who are not showmen had better pass up 
this act. The greatest care must be taken when performing this act. When making 
hypnotic(?) passes and conveying signals to the medium care must be taken to make 
the necessary passes and touches so the audience won’t fall to the fact that these 
passes are signals. Untiring practice and rehearsals must be given this act, which is 
not as simple to put over as it seems, before attempting it before any audience. When 
properly presented it becomes startling and intensely mystifying, but the reader has 
no doubt seen what could be one of the most mystifying acts completely spoiled by 
some so-called performer(?) who believes himself clever and usually bills himself as 
the “World’s Greatest” mind reader or magician but who should rightly be billed, “The 
World’s Nerviest and Worst.” 

The drawing will illustrate how by touching parts 
of the medium with finger tips the numbers from 
ONE to TEN can be signalled. Passes, throughout 
act when medium is in audience, are continually made 
and performer touches signal parts with forefinger 
and sometimes entire hand. 

In order to make all clear the following chart can 
be studied together with the drawing: 



1— Performer 

2— Performer 
FOREHEAD. 

3— Performer 
A —Performer 

5— Performer 

6— Performer 

7— Performer 

8— Performer 

9— Performer 

10—Performer 


touches medium’s RIGHT temple, 
touches CENTRE of medium’s 

touches LEFT temple, 
touches medium’s RIGHT ear. 
touches medium’s RIGHT eye. 
touches medium’s LEFT eye. 
touches medium’s LEFT ear. 
touches medium’s RIGHT shoulder, 
touches medium’s CHEST, 
touches medium’s LEFT shoulder. 
13 















Another way of conveying signals to the medium while making hypnotic passes 
is to have face and head mentally numbered in this way: 1—Right temple; 2—Centre 
of forehead; 3—Left temple; A —Right eye and 5 Left eye. 

When 12 is to be signalled forefinger of performer’s hand making passes, lightly 
touches left eye twice and centre of forehead once. Either of these two methods are 
practical. 

A downward pass on right or left side of medium, touching medium’s arm below 
elbow, signals STOP and on whichever side signal was made means on that side is 
party test is to be made for. 

The tests are pre-arranged in this manner or to suit performer who can “frame” 
his own tests :— 

TEST ONE—Take gentleman’s programme and hand it to lady in second seat in 
row in front of him. (Or in whatever row performer chooses and signals to medium.) 

TEST TWO—Take gentleman’s watch out of his pocket and hand it to the per¬ 
former. 

TEST THREE—Take handkerchief out of performer’s pocket and hand it to lady 
sitting three rows back of medium in fourth seat in from the aisle. 

TEST FOUR—Open gentleman’s hand, extract two of coins he holds in hand and 
put them in his top coat pocket. 

TEST FIVE—Take glasses from gentleman and hand them to lady on opposite side 

TEST SIX—Take program from gentleman, four seats in and tear it into three 
pieces. 

TEST SEVEN—Take lady’s hat and place it on gentleman sitting beside her. 

TEST EIGHT—Shake hands with lady, in aisle seat, then place her hand in hand 
of gentleman with her. 

TEST NINE—Take out performer’s watch and hand it to gentleman, then take it 
back and return it to performer. 

TEST TEN—Take lady’s bag, step back four steps, shake hands with owner of 
bag, then return bag. 

The different tests are forced in a careful way by performer. As many tests as 
the performer pleases may be used but five or six tests in conjunction with initial and 
playing card tests will take up time of act. 

When medium stops at seat upon signal from performer the next signal is the 
pre-arranged test; say it is the test in which performer’s handkerchief is to be taken 
from performer’s pocket and is to be passed to lady three rows back of medium, she 
waits for signal (3) which gives her the cue and then she backs to third row behind 
her, guiding herself by seat backs (she can look down side of nose to floor for feet 
signals explained later on in this act which are used to name suits of playing cards), 
performer continues to make passes, signals how many seats in from aisle the lady 
sits to whom the handkerchief is to be handed. 

Tests can be pre-arranged up to any number. When performer wishes to signal 
18, he signals quickly touching medium’s left shoulder (as if guiding her clear of seats) 
for 10 and right shoulder for 8. Medium gets it as 18 and figures quickly in her mind 
what test number 18 calls for. 

Simple tests such as to touch any object are arranged as follows and signalled in 
same manner: 


1— Lady’s hat. 

2— Programme. 

3— Lavellierre. 

A —Man’s head. 
5—Bracelet. 


6— Necktie. 

7— Man’s shoulder. 

8— ^-Watchchain. 

9— Neckchain. 

10—Touch emblem pin on man’s coat. 


More complicated tests are not only more effective but take longer and convince 
audience more fully. 

To name playing cards: performer announces that his medium will vehbally name 


14 





cards selected without a word passing between her and himself. An entire deck can 
be used for a full evening entertainment but in vaudeville to save time it is advisable 
to use only from six to ten cards. 

Cards are signalled from one (1) to thirteen (13). Ace as (1), Jack (11); Queen 
(12; ; and King (13). Suits are signalled by positions of performer’s feet by looking 
down sides of nostrils from under blindfold) as follows:— 

Both feet together signals SPADES. 

Both feet apart signals HEARTS. 

Right foot extended signals CLUBS. 

Left foot extended signals DIAMONDS. 

Turning over either foot signals JOKER. 

Initials are transmitted in this way:—Each letter of the alphabet corresponds 
with a number. There are twenty-six letters arranged in medium’s and performer’s 


minds like this :— 

1 2 3 

4 

5 6 7 

8 

9 

10 

11 

12 

13 

ABC 

D 

E F G 

H 

I 

J 

K 

L 

M 

14 15 16 

17 

18 19 20 

21 

22 

23 

24 

25 

26 

NOP 

Q 

R S T 

U 

V 

W 

X 

Y 

Z 

For example: The 

initials M. P. L., are 

selected. 

Performer signals 

to medium 


by making passes as follows: he touches her quickly on left shoulder and left temple 
(10+3=13 letter “M”) next quickly left shoulder and left eye (10+6=16th letter “P”), 
and finally left shoulder and centre of forehead (10+2=12th letter “L”). This is all 
done in much less time than it takes to write it, and medium writes or speaks the 
initials “M. P. L.” 

Performer could signal numbers to medium in this way: Say 24 was the letter 
(“X”) wanted, performer could touch centre of medium’s forehead and right ear thus 
signalling 24. This method could be used to advantage throughout. Either of the 
two methods can be used with good effect. 

It will be added to the effectiveness of the act if the medium while accomplishing 
the various tests murmurs continually yet faintly, as if in a trance, throughout the 
tests. 

If the medium possesses histrionic ability this act cannot fail to create a good im¬ 
pression but again let me advise that if the performer and the medium does not know 
how to act in a convincing manner pass up this act and leave it for others who possess 
the necessary ability. 

AN EXTRA MIND READING EFFECT 

This effect can be introduced in a mind reading act or can be used, to good 
advantage, as an extra test. 

The same code, signalling by passes, as explained at length in A Vaudeville Sec¬ 
ond Sight Act, or using any code performer wishes will put over the following effect 
to a good hand. 

Audience are given their choice of the following designs: 

1—Triangle. 2—Square. 3—Heart. 

4 Circle. 5—Diamond. 6—Circle with inner square. 

Free selection are given and medium, using either blackboard on stage or small 
pad and pencil in audience, draws selected design. 


15 





VAUDEVILLE CRYSTAL GAZING ACT 

The newspapers of the city or town in which the mind reader appears carries 
the following tale :— 



MIND READING MARVEL TO 
MYSTIFY THEATRE-GOERS 
OF (Name of city or town) 

The tricks of magicians fade into insignificance when La Vellma, the man 
who robbed the Orient of it’s mystery, and drew aside the veil of hidden 
powers of the Far East, the land of unfathomable mystery, appears on the 
stage of the (local) theatre this week. 

La Velma, enshrouding his performance with that unsolved mysterious 
power, which can be felt at that eerie hour of midnight when all things feel 
the touch of the mysterious; when Mother Earth herself seems still and cold, 
when all Nature’s perishable handiwork feels the calmmy touch of stalking 
death, will offer his startling mind reading specialty in which he demonstrates 
his remarkable ability to peep into the future and tell what awaits us there. 

Scientists, spirit mediums, clairvoyants and fortune tellers have been mys¬ 
tified and thrilled by this exponent of occult powers. 

Gazing intently into a sphere of crystal, La Vellma, answers myriads of 
questions put to him by members of the audience. No question baffles this 

man of mystery and theatre-goers at the - theatre this week will 

leave that place of amusement with but one thought in mind of having actually 
witnessed demonstrations of genuine mental telepathy. 



Needless to state that when an act of this sort is put over in a mysterious, con¬ 
vincing manner the town or city in which the performance takes place will ring with 
the name of the Seer. 

During the opening speech made by the manager of the act, attendants pass 
among the audience distributing pads upon which any questions desired are written, 
torn off pad and either sealed in envelopes supplied by attendants and retained by 
the writers or collected and placed in a glass bowl which stands on a table in centre 
of the stage well down by the footlights where they remain all through the act. 

At no time during act does medium (who in this act is the performer) go near 
table upon which questions are placed and yet performer reads and answers as many 
questions as running time of act permits. Furthermore members of audience can 
write their questions at home, seal them in their own envelopes and bring them to 
the theatre, yet the mind reader reads and answers those questions also. All queries 
are answered in a manner that startles even skeptics. 

■The performer while answering the various questions to the satisfaction of the 
writers, walks about the stage gazing intently into a crystal ball wherein he, aided by 
his extraordinary occult powers(?) not only gives suitable answers but calls the names 
of those who have written the questions, many times describes the writers and locates 
them in the auditorium by telling where they sit. In a nutshell, an act of this sort 
when “put over” (as they say in the parlance of the stage) properly makes an audi¬ 
ence sit up and take notice. 

I shall not go into detail here as 'to the various methods of “getting” the questions. 
Various methods will be explained in another chapter, together with hints and sug¬ 
gestions a‘s to how to give answers to various “catch” questions. 


16 















In an act of this sort usually from two to four assistants are carried. This method 
of mind reading is an electrical one known as induction. A coil of wire extends around 
a certain radius in which the performer walks and takes care he does not get out of. 
This may be either of a square or circular shape. This “coil” is planted either under¬ 
neath the stage proper, around outer edges of a special carpet carried with act or 
around base of a “box set” of scenery well covered by a floor or ground cloth. Running 
from the coil are two thin wires which connect to a storage bat'tery and transmitting 
apparatus into which assistant ’phones messages and answers, as well as all necessary 
information to performer on stage. By using a transformer the apparatus may be 
“plugged” into connection via a stage plug. 

There are no wires connected from this ground coil to the performer. But around 
performer’s waist is an arrangement (the apparatus I have is made tin this way) of an¬ 
other coil, making the second coil, which is constructed so that performer may step 
into it and fasten it around his waist. 

Oriental costume is usually used by performer as the turban which goes with this 
costume conceals the watch-case receiver (I am not trying to be technical) which is 
fastened by a steel band which goes over the head (not unlike arrangement used by 
telephone switchboard operators) which holds the receiver in place against ear. There 
are several fine wires running up from body coil to ear receiver. Someone once sug¬ 
gested concealing receiver in padded shoulder of dress coat, thus doing away with 
turban. Others claim they have put second coil in turban instead of around body. 
Another suggests that if large (floor coil) coil be hung in back of drop body coil could 
be suitably arranged on back of performer, underneath coat. There are wireis running 
from floor coil to a transmitter into which information is telephoned by an assistant 
to the performer. 

Any of the apparatus mentioned in this book can be obtained from any reliable 
magical dealer or the address of a manufacturing electrical expert, who is also a clever 
magician, can be had from either the publisher of author of this work. 

An act of this (sort never fails to leave a marked impression on an audience provid¬ 
ing the performer is able to properly present it. Performer must be a capable talker, 
a clever actor and above all a first class showman to gain the best return from an act 
of this type. 

PHONETIC SYSTEM FOR SILENT THOUGHT TRANSMISSION ACTS 

Herein Worked Around the Sort of Vaudeville Act that Will Baffle Even Magicians 

and Stage Telepathists 

{Something New Under the Sun) 

New ways and means are unearthed and worked out, now and then, to be used by 
Vaudeville Mental Telepathists by someone well versed in the art of Stage Telepathy. 

My friend Sherman, formerly a performer and the originator of a number of magi¬ 
cal effects, who is now devoting his time to creating new magical devices and effects, 
has created what promises, when properly applied, to become a startling revelation for 
the professional Mental Telepathist. 

One day this creative genius sprung this new idea on me and before long we both 
were at work doping out the following method by which musical selections could be 
fired across to an assistant thus enabling the Madame seated at a piano to name and 
play the selection whispered to the performer. 

This system can be so arranged and worked out that practically anything can be 
sent by performer to assistant. We leave this phase of the work for someone with 
more time to dope it out than we have at present. 

Here I will only deal with how the lady at the piano plays any selection named by 


17 




some member in the audience. This system is far superior in both the method of sig¬ 
nalling and working than any Silent Thought Transmission system up to the present 
time devised. 

The system is based on phonetics or sound waves, really the consonants, long and 
short vowels and diphthongs used in Phonography. 

Before proceeding further again let me emphasize the fact that this Phonetic 
System is practical and not a day-dream. Sherman and myself have tried it out suc¬ 
cessfully and were we to go back into the show game and offer this sort of an act, we 
both would use this system, appreciating the possibilities of it, and would use no other. 

Remember in applying thiis system the performer is NOT restricted to a certain 
batch of musical selections—ANY AND ALL SELECTIONS, whether known or un¬ 
known to performer, CAN BE SENT, and even if the medium cannot play -the selec¬ 
tion she can at least name it, which positively cannot be done with any other method 
worked in complete silence. 

A careful study of this system, together with the working of it will prove, to the 
performer, that it brings to light a new and far superior method of transmitting both 
the signals and the names of selections for the use of the down-to-the-minute per¬ 
former. 

In this method the various charts are prepared as given below with phonetic 
sounds and not with the usual lot of tabulated musical selections which all previous 
methods of working this type of act employed. 

There are forty sounds to be charted into four charts of ten sounds to the chart, 
■thus:— 

CHART ONE 

Signal Name Sound 


1 . 

G 

As in sa <7 

2. 

F 

“ “ /an 

3. 

V 

“ “ 'S3.V& 

4. 

ITH 

“ “ sa ith 

5. 

THEE 

“ “ scy the 

6. 

S 

“ “ jips 

7. 

Z 

“ « s j^ e 

8. 

ISH 

“ “ sa sh 

9. 

ZHAY 

“ “ suasion 

10. 

LAY 

“ “ sai/ 


CHART TWO 

Signal 

Name 

Sound 

1 . 

P 

As in so p 

2. 

B 

“ “ sob 

3. 

T 

“ “ sot 

4. 

I) 

“ “ sod 

5. 

CHAY 

“ “ such 

6. 

J 

“ “ /ay 

7. 

K 

“ “ sacfc 

8. 

R 

“ “ sir 

9. 

M 

“ “ seew 

10. 

N 

“ “ seen 


CHART THREE 

Signal 

Name 

Sound 

1 . 

ING 

As in sing 

2. 

WAY 

“ “ wt 

3. 

YAY 

" “ ye 


18 





4. 

HAY 

u 

“ he 

5. 

E 

a 

“ meet 

6. 

A 

u 

“ mate 

7. 

A 

a 

“ mart 

8. 

I 

t( 

“ sit 

9. 

E 

a 

“ set 

10. 

A 

a 

“ sat 


CHART FOUR 


Signal 

Name 

Sound 

1. 

I 

As 

in file 

2. 

01 

u 

“ fail 

3. 

A 

a 

“ call 

4. 

0 

tt 

“ caal 

5. 

00 

a 

“ caal 

6 

O 

a 

“ lack 

7. 

V 

a 

“ lwck 

8. 

00 

u 

“ laak 

9. 

ou 

u 

“ fawl 

10. 

u 

a 

“ fwel 


The numbers of charts are transmitted in this way:— 

CHART (1) ONE:—Performer’s head upright. 

CHART (2) TWO:—Performer’s head turned to right or left. 

CHART (3) THREE—Head bent slightly downward (as if meditating.) 
CHART (4)FOUR:—Head slightly tilted upward (as if performer was 
trying to memorize name of selection given.) 


It does not matter which way the performer’s body is tilted—head movement 
“shoots” the number of chart to concealed assistant who, behind scenes, follows the 
performer’s movements closely by aid of a pair of powerful field glasses. Even if the 
performer’s back is turned to stage chart number can be caught. 

All signals or cues must be given in a natural as well as graceful manner. These 
moves should be practiced time and time again. 

It will be noted that in this system, as well as in system given in the other Silent 
Musical Thought Transmission act elsewhere in this book, that the well known signals 
and cues such as “hand raised to forehead,” “touching breast,” etc., etc., are eliminated. 
These new signals, when employed by a performer of ability who understands the value 
of and uses showmanship, defy detection. 

The following are the signals used to convey to assistant the proper numbers on 
the various charts :— 


1 . 

2 . 

3. 

4. 

5. 

6 . 
7. 

8 . 

9. 


Hand drops to bottom of coat, grasping bottom. 

Hand takes position half way between bottom and waist line, 
grasping coat. 

Hand naturally grasps coat at waistline. 

Hand (fist closed) drops to same position as in Signal One, only a 
few inches away from coat. 

Hand (fist closed) to position 2, only away from coat. 

Hand (fist closed) to position 3, away from coat. 

Hand opened, gracefully, as in position 1, away from coat. 

Hand open as in position 2, but away from coat. 

Hand open as in position 3, but away from coat. 


19 



10. Both hands clasped in front of performer, a little above waistline; 
attitude of deep thought assumed by performer. 

Again I repeat, all signals should be given gracefully and in a natural manner. 

START signal:—Performer clenches either fist at side. 

STOP signal:—Performer places thumb of either hand into pocket, hand hanging 
outside. 

REPEAT signal:—Signalled to performer \>y lady seated at piano, by a turn to 
right or left of her head. 

The REPEAT signal is used when assistant, back stage, whispers or telephones 
the medium at piano that he didn’t get the signals sent. Medium turns her head to 
right or left and the performer in audience, who keeps his eyes on stage without 
attracting attention of spectators to the fact, shoots the signals over again. 

Illustrating using this code to transmit the following musical selections:— 
PEGGY:—Chart 2, Number 1. 

Chart 1, Number 1. 

Chart 3, Number 5. 

Transmitted thus by performer: (Start) Fist hanging naturally at side, clenches. 
Head turns to left; hand drops to bottom of coat, grasping edge. Drops clenched 
fist to side; head upright; raises hand to bottom of coat, grasping bottom. Drops 
clenched fist to side; bends head downward; hand (fist closed) to halfway between 
bottom and waistline, away from coat. Drops hand to pocket and places thumb in 
pocket, hand hanging outside. 

GOLDEN GATE:— 

Chart 1, Number 1.—(G) 

Chart 1, Number 10.—(L) 

Chart 2, Number 4.—(D) 

Chart 2, Number 10.—(N) 

Chart 1, Number 1.—(G) 

Chart 3, Number 6.—(A) 

Chart 2, Number 3.—(T) 

A good idea would be to have as many titles of selections as possible alphabeti¬ 
cally arranged, adding to this list from time to time, handy for assistant to refer to 
should he be in doubt. No time must be lost while transmitting and catching cues. 
Two assistants back stage could be used to good advantage in this way; one gets 
the signals and repeats them aloud, the other hearing them repeated puts two and 
two together and telephones the title to Madame at the piano. 

Signals are shot quickly by performer. Assistant must be trained to catch them 
quickly and correctly. This requires considerable practice. Both the performer and 
the assistant should familiarize themselves with titles of every sort of selection thus 
arriving at a method as short as possible. Various helpful things will suggest them¬ 
selves as rehearsals go along. 

After performer opens act with a short introductory speech, Madame comes on 
and seats herself at piano. When performer goes into audience she idly runs over the 
piano keys waiting for name of first selection to be telephoned. Assistant can be 
“planted” back of the scenes near medium so he can whisper to her the selection titles 
or the electrical apparatus mentioned elsewhere in this book can be used enabling 
assistant to communicate with medium which is more appropriate and more to be 
desired. 

The performer keeps always one selection ahead, for instance, he has name of 
a selection whispered to him, turns to someone on opposite aisle for their selection 
meanwhile performer signals first selection to assistant. When going to third party 
for their selection, performer transmits second selection to assistant while Madame 
starts playing first selection. 


KARAVAN:— 

Chart 2, Number 7.—(K) 
Chart 2, Number 8.—(R) 
Chart 1, Number 3.—(V) 
Chart 3, Number 10.—(A) 
Chart 2, Number 10.—(N) 


20 


Medium names selection, then plays part of it. She continues to play until next 
one is telephoned to her. 

Bear in mind signals must be sent quickly by performer. Avoid “stalling” unless 
absolutely necessary . . . then “stall” with method in your madness. 

This system, at first reading, may seem complicated and very difficult. This is 
not the case. It is exceedingly simple when once the idea is grasped. The operator 
of a telegraph instrument, when receiving a message, doesn’t have to figure out so 
many dashes and dots mean such and such a letter but is trained, by sound, to pick 
up the words as fast as they are ticked out. He does this in a way that makes it 
seem as if the instrument were a human being and engaged in conversation with him. 
In the same way will the assistant, after plenty of study and rehearsing, be able to 
understand the performer when he telegraphs thru space the various signals. 

Many silent systems of thought transmission employed by our foremost performers 
are known to me but I can truthfully state that with the proper working up this 
method is without a doubt ten years ahead of the rest. 

VAUDEVILLE FEATURE MIND READING ACT 

Curtain rises on a bare stage set in “four” or full using either house “Centre door 
fancy” or special “set” carried by act. Of course, if performer desires he can carry 
a special oriental setting for this or any of the other mind reading acts explained 
in this book. A fancy throne chair or sort of camouflaged settee can also be carried 
upon which the medium sits throughout the act. The chair has nothing to do with 
the trick. Special settings make a big “flash” for an act of this sort and helps put 
over the specialty to a certain extent and combined with special costuming put the 
act in the class known to vaudeville agents as “sight” acts pleasing to the eye of an 
audience but of course in any kind of an act two-thirds of the act depends on the 
performer’s ability as a showman. 

After the usual introductory speech by performer or manager, the medium is in¬ 
troduced and sits on stage, in full view of the spectators throughout the entire act 
presumably cut off from all outside communications. Medium is blindfolded and as 
the performer passes among the audience, Madame (medium) answers questions of 
nearly every description, gives out various information desired by members of the 
audience, dispenses valuable (?) business advice, endeavors by occult aids to locate 
stolen or lost articles and the medium even identifies various persons in the audience 
whom she has never seen before. Perfectly marvelous, what? 

Members of audience desiring any information on any subject of public or per¬ 
sonal interest, put their questions into writing. These questions never leave their 
possession and is seen by no other person, not even by the performer. Writers of 
these queries are identified and placed by the medium who reads and answers ques¬ 
tions. Members of the audience are permitted to write their own questions, place 
them in their own envelopes, if desired, and placed in their pockets and held onto 
throughout act. These questions are apparently never seen by anyone except the 
writers themselves yet they are answered with startling correctness by the medium. 
Some questions can be answered by mail as the performer sees fit or may be an¬ 
swered at private interviews at the performer’s hotel. All in all this act makes up 
to be one of the most interesting and entertaining ever presented before an audience. 

This act can be headlined in the finest vaudeville theatres throughout the country. 
It would prove just as mystifying and perhaps as profitable if presented as the 
feature of a road show in the smaller cities and towns. The act can also be staged 
to unusually good effect in a club and is one of the best electrical mind reading 
specialties known to the profession. 

The apparatus used is described fully in “A Vaudeville Mind Reading Act” found 
elsewhere in this book, with a drawing which will make everything clear to the 
performer. 


21 



I draw on my scrapbook for the following method of preparing the pads which 
are distributed to members of the audience. Each pad consists of from five to six 
sheets of paper of not a too thick nor too thin quality of paper. Experimenting will 
show what sort of paper will be most effective. Next to the bottom board of pad, 
which is used over again many times with fresh sheets, there should be a sheet of 
plain paper; above this a sheet of prepared paper, waxed side down and above this 
several other plain sheets. The performer or assistants in the audience supply the 
pencils which should be of a cheap, hard quality, the harder the more effective. Each 
pencil should be cut to about half its length and blunt-pointed this gets better results 
and avoids sharp point tearing paper when writing is being done. The questions 
written on the upper sheets will be transferred to the lower sheet in wax lines and 
these in turn when developed will run into each other but with little trouble can be 
read. Each pad must not be used too often in a performance as too many questions 
on'a sheet might cause considerable trouble in reading. Pads should be about eight 
by five inches. Another lot may be about seven by nine inches. In a theatre one 
size might be used for obtaining questions from the balcony and another size for the 
orchestra and boxes. Assistant when passing up aisles can jot down on copy which 
section of house party writing question sits or size of pad can be used to indicate 
which section of house query was written in. Assistant can also jot down what row 
and how many seats in, the writer sits, thus helping the medium considerably as she 
should indicate where writer sits before answering question. Writer of question is 
asked to raise hand before question is read and answered from stage. 

While passing through the audience, the assistants hand pads and pencils to dif¬ 
ferent people requesting them to write their questions on a sheet, to sign them with 
their names or initials and tear off and keep what they have written. Some per¬ 
formers, after the questions are written, and torn from the pad by the member of 
the audience, tear off the lower half or third of the next sheet and throw it away 
so that the next message must be written further up requesting the next person to 
write his or her queries on the portion of the sheet remaining. Assistants carry 
a number of these prepared pads, handing one at a time to various spectators, and 
when several questions have been written on a pad, this pad is taken and placed on 
the bottom of the lot to avoid too many impressions to be written on one sheet. 
This should be done with care and assistants should be well trained. 

The prepared sheet is doctored in this manner:—Lay a sheet of paper on a smooth 
even surface say a sheet of glass and thoroughly rub it on one side with a smooth, 
flat cake of Paraffine Wax. It may be found necessary in cold weather to move the 
cake of Wax about over a flame to slightly soften it so good results can be obtained. 
Care should be taken to press well down firmly with the wax in rubbing and remove 
any superflous lumps from paper sheet with the blade of a flat knife. Then rub on 
the wax again and polish the surface with the palm of the hand being sure that the 
hand is free from dust or dirt. Be sure the hand is wiped clean of perspiration before 
attempting this important operation. To develop the questions on prepared sheet 
have a bowl of finely powdered Plumbago (Dixon’s Graphite Number 635 is conceded 
to be the best), containing a small quantity of powdered charcoal which may be 
procured in any drug store. Now dust the powder lightly over the sheet with a wide 
flat camel’s hair brush and the powder will adhere to the lines of the wax transfer 
and render them visible so they can easily be read. 

Another method of procuring copy of message, which is not as good, but requires 
less preparation is as follows: 

Procure a piece of glass (plate), 6x8 inches square. Take a sheet of paper, 
place it on the table. Take some SPERMACETI WAX, scrape it very fine on a 
handkerchief, and with this you rub, or thoroughly coat over upper surface only of 
sheet of paper, then place it, prepared side down on piece of glass. On this you place 
an unprepared piece of paper same size as other. This is carried down by assistant 


22 



and handed anyone together with a sharp hard lead pencil. They are requested to 
write a name or question on slip of paper, fold same, and place it in their pocket. 
Assistant returns to stage, loosening the sheet of paper and letting it slide off on to 
table as he carelessly places glass thereon. You have now, only to glance obliquely 
at surface of glass, to read wax impression of writing on same, and answer as best 
suits your purpose. In case you wish several to write, one after the other, you have 
Va size unprepared sheet of paper, which has been nearly separated into three pieces, 
so each one, after writing, can tear off their slips, and in this way you can as readily 
take care of all three, answering each in a different way. In case of your not having 
an assistant, you carry tablet down yourself, and by misplacing paper, can get the 
sense of writing on your way back to stage. 

It would be almost impossible to write a chapter on how to make suitable replies 
to questions written by spectators which fall to the lot of the medium to answer. 
Experience is the only real teacher. I shall endeavor to give a rough outline later 
on how to answer some of the many questions put up to the Madame. Truly if the 
medium wishes to answer many of the unbelievable questions she is at times asked 
she would have to be possessor of the much read about black magic secrets and 
possess genuine occult powers. 

Assistants of the performer can secure much information from the current papers 
and old files of newspapers always found in newspaper offices of any consequence. 
Directories can be utilized to secure addresses of prominent local celebrities. The, 
local theatre manager and his staff may be able to hand out some useful information 
and these worthies usually have friends from whom, by judicious pumping, one can 
get a fund of gossip, parts of which might come in handy and create a marked im¬ 
pression when handed out at the proper moment. When prophecing always try to 
make your prophecies hopeful and pleasant. Ignore messages written on other paper 
than that passed by attendants. You can use messages brought into the theatre, 
already written, by spectators if you use what is known to the conjurer as a changing 
basket or bag. This handy piece of apparatus is made with an invisible section into 
w r hich dummy sealed messages are placed before the performance. When assistant 
collects messages, from audience, he gives after all are collected, the hidden mechan¬ 
ism concealed in handle a turn and section concealed is pushed aside making way 
for compartment containing faked messages, which are dumped into a glass recep- 
tide on stage (remaining in full view throughout act, and bag or basket is then 
handed off stage as if getting it out of way but in reality so that concealed assistant 
gets hold of real messages, opening them and he telephones, at proper time, questions 
and information to medium. These bags and baskets can be purchased from any 
reliable magical supply house at a nominal sum and they will be found to be of unusual 
assistance to the mind reader. 

Performer should make it a point to have assistants have, in turn, members of 
audience write more questions than there is time to answer. In this way the most: 
intelligent questions may be selected. Whenever possible it will be a good idea to* 
have queries written before the act commences as this will allow plenty of time to 
develop paper and preparing various answers. Many mind reading acts play return 
engagements and it is advisable to save all data collected, in towns and cities where 
a return engagement is forthcoming, for future reference. 

Clever and careful answering of questions will make many in the audience, when 
leaving the theatre, think they have witnessed the exercise of some mysterious occult 
power and there are always a number of persons who view a good, convincing mind 
reading performance, who really believe they have witnessed demonstrations of 
genuine mental telepathy. 


23 


WINGED MYSTERY 


An unusual and baffling mind reading experiment for either theatre, hall or club, 
As this test takes some little time to present and work up properly, it is not advisable 
to use it in a vaudeville specialty. In a full evening's entertainment it will, if worked 
with the proper dramatic presentation, astound any audience. 

Performer goes among audience and hands a lady or a gentleman a slip of paper 
instructing them to write a sentence or a line from a poem, and sign it. This is 
placed in an envelope, by the writer, sealed and handed to another member of the 
audience requesting him to place it in his inside coat pocket for safe keeping. 

Some other spectator is asked to name a prominent place anywhere, within a 
reasonable distance, in the city or town the performance is held. A member of the 
audience mentions a place say, under a stone in front of the Court House, and this 
is jotted down so it can be remembered. 

Performer now commands the Winged Mystery aided by invisible powers to 
carry the written slip of paper out of the envelope, held by spectator, to spot chosen 
by member of audience. 

Several gentlemen are now recruited as a committee to go 'to chosen place and 
find written slip. They set off. 

Madame, who sits on the stage blindfolded, is now placed in a hypnotic trance 
by performer and commanded to read whatever was written on the paper. This she 
does in a mysterious manner. 

Performer commands Madame to awaken. He then asks gentleman if he still has 
sealed envelope in his pocket. He replies he has. Performer tells him it is useless 
for him to hold envelope as the paper which it contained has been conveyed by the 
Winged Mystery to place of concealment selected by someone in audience. The 
holder of envelope, as well as the audience laugh at this, but when this man is in¬ 
structed to open the envelope to the utter astonishment of himself and the rest of 
the spectators the written slip has vanished! 

Committee return with envelope and explain that they found it in place selected. 
Envelope is torn open and slip of paper is taken out, handwriting examined by person 
who wrote it who identifies it. Then down comes the curtain on a test that will 
remain in the memory of the audience for many moons to come. 

Before I explain the modus operandi by which this wonder arousing feat is ac¬ 
complished let me state that showmanship and clever manipulation are most impor¬ 
tant factors in putting this test over to big returns. 

PROPERTIES:—Real showmanship. A number of plain, fairly heavy white en¬ 
velopes one of which is prepared in this manner: Cut a piece of good quality carbon 
paper not quite the size of the face of envelope. Small daubs of glue are dropped 
on the four corners. The carbon is now placed in envelope and pressed into position 
with side of carbon giving impression inside so that when a piece of paper is placed 
in this envelope and envelope placed on top of pile (which is used for a surface upon 
which writing is done) the writing on slip by lady or gentleman leaves an impression. 
Prepared envelope should have flap left unsealed. It is advisable to place a number 
of slips of blank paper inside this envelope, so a good impression will be the outcome. 
This prepared envelope can be used a number of times. 

An assistant (No. 2) stands, out of sight in wings or at back of theatre awaiting 
place mentioned by one of the spectators so he can rush there, when envelope comes 
into his possession and conceal it where it will be later found by a committee. 

Assistant number one is used to assist the performer. 

Any of the electrical methods explained elsewhere in this book can be used to 
transmit to the medium the contents of the written slip. This information is telephoned 
medium by assistant number one, when he learns it from carbon impression obtained 
from prepared envelope. 


24 





PRESENTATIONPerformer makes introductory speech teirJd have on it the 

winged Mystery that acts as his special messenger. He will give an exhibit_ ~. 

the powers of the Winged Mystery. . v 

Performer goes into audience carrying several pencils and a packet of envelopes, 
on top of which lies the prepared one. 

Assistant number one comes into aisle with performer. 

Performer passes a slip of paper and a pencil to member of audience asking party 
to write any sentence, line of poetry or anything they desire. He hands them packet 
of envelopes, with prepared one on top, to rest on while writing. When writing is 
done, performer asks writer to sign it and at once takes back the packet of envelopes 
placing them under his armpit at the same time instructing writer to fold the paper 
in half. The performer now hands the writer an unprepared envelope from the bot¬ 
tom of packet and asks party to place the written slip in it and seal it. This move is 
a natural one and never noticed. 

Performer hands assistant the packet of envelopes to hold. Then hands him 
sealed* one taken from writer. The envelope “switch” is made (and this should be 
rehearsed time and time again before attempting it in an audience) by assistant in 
this way:—In left hand assistant holds packet of envelopes, and while performer 
covers this move of assistant by patter; the assistant when turning hands another 
empty envelope (which is sealed and has been laying third from top of pile) to 
another spectator on opposite aisle and immediately offers a seal to be placed on 
envelope to insure performer against spectator opening it. This party is instructed 
to place envelope in his inside coat pocket and button his coat. 

Another method used by spirit mediums is to have a book (usually a bi'ble) con¬ 
taining a duplicate envelope which is “switched” for real one by placing sealed one 
in book and pulling, under cover, dummy envelope into view. 

The assistant now holds envelope containing the written slip on top of prepared 
one, and at earliest opportunity, makes his way back stage and hands real envelope 
(containing written slip) to assistant number two, who stands waiting in wings. Or 
if assistant number two stands at back of house he takes envelope and in either case 
waits for place where envelope is to be hidden is mentioned. 

Performer now asks for a prominent place to be mentioned where envelope should 
be concealed. Someone mentions say the letter should be found under a stone in 
front of the Court House. This is jotted down on a piece of paper so it will not be 
forgotten by audience. 

As soon as assistant number two hears place of concealment mentioned, he shoots 
out of the theatre, hall or club, and hides the envelope containing the writing in that 
place where it will later be found by the committee. 

Assistant number one, back stage, opens prepared envelope and extracts the car¬ 
bon impression and telephones lady on stage what is written. 

Performer now commands the Winged Mystery to carry slip to spot chosen by 
spectator. 

A committee is formed to locate the slip of paper, and leave on their quest. 

The lady on the stage is now placed in a hypnotic trance, performer all thru this 
test remains in the aisle, and commanded to tell what was written on the slip of paper. 
This is done and affirmed by writer of the note. 

Madame is then awakened. 

Performer now asks gentleman into whose keeping note was given, if anyone was 
near note. Then he tells him that the Winged Mystery aided by powers invisible 
have taken the written slip from envelope. Gentleman is instructed to open envelope 
and it is found empty. 

Committee return carrying envelope (unopened). One of the gentlemen are re¬ 
quested to open it and the written slip signed by the original writer is identified. This 
is a most mystifying test in the hands of a showman. 


25 


O N ANSWERING QUESTIONS 
Also Answering “Catch” Questions 

xi/e Telepathist should always try to avoid “catch” questions whenever possible. 

Get around them, and experience will teach you many ways, in a manner that will 
seem off-handed or beneath the medium to answer. Many times it is advisable to 
ignore questions of this sort entirely. 

Pass the “wise-acre” up whenever the opportunity presents itself. The performer, 
in audience, should pretend he didn’t catch the question and pass on to some other 
member of the audience for their question. Many times this is not noticed as the 
other members of the audience are eager to “shoot” their questions to the performer 
When questions are written it is much easier for the medium as well as the performer 
A Few Answers for “Catch” Questions 
(Question) WHO A*M I GOING TO MARRY? 

(Answers) 1. The lady (or gentleman) who will be your wife. 

2. I trust it will be the lady (or gentleman) you hope it to be. 

3. You have made some plans. Maybe you haven’t told them to even your closest 

friends. I trust those plans will not miscarry, (or . . . will not have been made in 

vain) I hope it will be the one you wish it to be. 

4. I hope it will be one whom you care for. 

5. It never pays to have an outsider make a prophesy. 

6. I hope it will be the lady you have set your mind on. 

7. I hope it will be the gentleman you have set out to capture. 

8. I trust it will be the gentleman (or lady) you have set your cap to get. 

9. That lady you have in mind. I hope you will win her. You’ve sure tried hard 
enough to get her (or him). 

10. A gentleman whom you have in mind. He’ll surely treat you right if you do 
what is right by him. 

(Question) WHAT IS MY NAME? 

(Answers) 1. As the lady (or gentleman) already knows why waste time by 
putting me to the test? 

2. If time permits I will answer So-and-So’s question later. (This surprises them 
if your assistant can get their name). 

3. Whatever name you were christened with. 

4. I trust the lady hasn’t forgotten her own name? 

5. That question appears a bit hazy. 

6. This is not a seance. 

7. I am not a telephone directory. 

8. I am not a personal tax collector. 

9. What? Has the lady forgotten her name? Personal advertising, you know, 
doesn’t always pay. 

10. The management objects to that question. 

* HINTS:—“Plant” someone “on” the show out front and from the start have them 
ask one of the above questions and turn him down by giving him a snappy reply. 
That will make the others with that question in mind forget it. If they ask who will 
they marry request that the name of the questioner be given you otherwise you will 
not answer. They won't relish the idea of having their name made public that way. 
If they should be married and try to turn a laugh on you . . . (when asking “Who 

will I marry?”) . . . Tell them that it is bad policy to plan so far ahead!” 

At times a “wise-acre” will ask, “Who am I with?” 

Answer after finding out if it is a lady . . . “Your own wife, I trust.” If a lady 

is with a gentleman and asks that “fool” question answer, “I trust it is with your 
own husband.” 

Assistants can quickly jot down on slips to be developed such descriptions of 
writer’s personal apparel as will be more convincing for medium to give before answer¬ 
ing. 


26 








When answering written questions (the message or question should have on it the 
initials or name of writer) the medium should start off something like this:— 

“Mrs. So and So, I am under the impression that you are contemplating going to 
New York in reference to a money matter. I advise you to go, as it will prove most 
profitable for you.” 

“I get the initials, R. W. D. Is someone present with those initials?” Performer 
finds out and tells Madame there is. Then she continues: “Raise your hand please. 
I get the name So-and-So. Am I right?” Then she goes on and reads and answers 
question. Inject humor into your answers whenever it is possible. 

Some performers have an assistant who opens, and writes gist of question and 
suggested answers while another confederate telephones them to the performer. It is 
very difficult, at times, to quickly think up sensible and witty answers to queries. 

A clever fit of business used by some performers is to memorize several questions 
and names and walk into aisles or stand on rundown leading from stage and give a 
few answers to questions. To do this performer must be able to memorize well. It is 
worth using as it sort of shatters the idea of how it is done (the method employed) 
that some may think they know. 

“I see Mr. J. J. So and So. He sits in the twelfth row, two seats in from the 
aisle. Am I right?” Performer picks out victim and tells medium she is right. “You 
want to know,” continues the Madame, “whether or not you will be married before 
the end of the year. Have hope, sir, if you don’t get married this year there are lots 
of more years to come.” 

“Someone, I cannot make out the name, wants to know if the end of the world 
is near. Don’t worry, you’ll have lots of good times 'before that day dawns.” 

“A lady in the seventh row whose name I believe is Miriam So and So, wants to 
know if she will succeed in becoming a movie star. Is that right, Miss So and So? 
Party addressed answers medium. Medium continues, “You will succeed Miss So and 
So when you get in, but the getting into the pictures is the difficult thing.” 

Questions are read and answers given in this way until time for end of act arrives 
and medium can inform audience that she can get no more impressions or performer 
can go upon stage and say: “Madame, time is flying.” Madame answers another ques¬ 
tion and then performer slaps hands or snaps fingers as if bringing her out of trance(?) 
and both bow themselves off as the curtain descends. 

METHOD OF OBTAINING MESSAGES WRITTEN AT HOME BY MEMBERS OF 

AUDIENCE 

There are many methods of obtaining messages from members of the audience 
who have brought their questions and messages already written at home on their own 
paper and sealed in their own envelopes. The performer with a little thought and 
referring to the different books on magic he has in his library will hit upon some 
method to his liking. 

I have mentioned elsewhere the ruse of collecting these messages in a Changing 
Bag or Basket. This is a most useful piece of utility apparatus, for not only the mind 
reader but the magical entertainer as well. 

Here is another method:—Box, to receive messages, is placed in lobby of theatre. 
Box should be designed in oriental fashion. Two boxes are employed and both must 
be exactly alike. Each bearing a small brass padlock. Spectators upon passing into 
theatre deposit their messages and when time arrives for reading same assistant 
switches box containing real messages and duplicate box is carried down aisles and 
handed over footlights where it is placed upon a small tabie and remains in view 
throughout act. Care should be taken when “switch” is made so audience who may 
be coming into theatre at that time or standing up in back don’t get wise to what is 
being done. Real questions are taken back stage and opened by assistant who reads 
and telephones messages and names to performer on stage. 


27 


Special boxes with secret double compartments are also used. Any magical 
mechanician can make a box for the performer if he so desire's. 

THE BLINDFOLD DRIVE 

Nowadays this trick is modernized providing the mind reader is up to date. The 
old effect is as follows: A carriage was procured and the mind reader accompanied 
by a committee of two or more drove through the main streets, of the town in which 
he happened to be playing, to a selected destination, unbeknown to performer, blind¬ 
folded. In this building was hidden some article which it was up to the mind reader 
to find. Today, if the performer can drive an automobile, this effect will be more 
interesting. Performer must be able to operate an automobile. The driving being 
done by performer and the subject places the backs of their hands on the wrists of 
yours, holding them in that position lightly. Driving blindfolded is all right, but care 
must be exercised or disastrous results be the outcome—at least this is what the com¬ 
mitteemen and spectators should be led to believe. Now to business. A committee 
are selected, they should be well known residents of the city or town in which you 
are playing and above suspicion as some “sidewalk comedian” (and every city, town, 
village and hamlet have them) might remark that they were in collusion with per¬ 
former. 

These gentlemen are instructed to drive to some part of the city and to hide 
some article, usually picking out some prominent building like the local post office or 
city hall to hide articles in (name of article unknown to performer), then to return to 
hotel or theatre where performer awaits them. They are instructed to be sure and 
return over same route they took and to concentrate on it. This is for effect. Per¬ 
former is blindfolded to the satisfaction of the committee and spectators (performer 
should do some convincing acting here: i. e., floundering around a bit, stumbling when 
getting into awaiting machine or carriage) and entering the conveyance drives over 
the same route as committeemen and locates the hidden object. 

SECRET:—There are a number of ways of accomplishing this trick. One method 
is to have performer blindfolded with a blindfold (see article on blindfolds) made of 
black cloth of quite a length which should be folded several times to convince specta¬ 
tors that performer is unable to see. This should be tied tightly over the eyes, the 
lower edge coming down to the tip of the nose. No difficulty will be experienced, by 
performer, of seeing if he looks downward, tilting head, alongside of nose. A three or 
four inch wide blindfold can also be used if so desired. A knitted scarf (closely knit) 
can also be used enabling the mind reader to see thru it. Nearly any sort of blindfold 
can be lifted a little by raising the eyebrows, enabling one to see better. Nerve is 
about the only thing necessary in this experiment, as a little practice will enable you to 
“get” the various muscular indications. You get into whatever sort of conveyance is 
selected, have one of the committeemen either place his hand upon your wrist or per¬ 
former takes committeeman’s right hand lightly in his, holding it thus throughout 
the drive. In this way unconsciously the man will actually guide you this way and 
that and should you fail to “get” his “indication,” tell him to concentrate intently on 
route. He will unconsciously pull you back should you take the wrong route. Some¬ 
times a slight backward tug will be the signal when you have arrived at place selected. 
By careful “pumping” you can get from him where the place is and what sort of 
building it is. When arriving at destination get out, take the hand of the gentleman 
who assisted in hiding object, your subject realizing how much depends on him in this 
experiment will do his best to closely follow your instructions and aid you in man}' 
ways. During drive he will continually concentrate on route as performer keeps cau¬ 
tioning him to do, thus imparting to you more strongly proper indications as to which 
way to go. Many times the muscular movements will be pronounced, at other times 
barely noticeable. (Practice muscle stuff well as, for close work, it is worth while.) 
This is true of any test in muscle reading and is due to the various powers of concen- 

28 



tration your subject possesses. At times j r ou will find someone who indicates the 
proper route so strongly by moving his hand in the proper direction, that you try to 
figure out why he doesn’t notice it. But avoid calling his attention to what he is 
doing, of course. The reason for that is this, the mind cannot be wholly concentrated 
upon two different things at the same time. As long as your subject continues to fix 
his attention upon the direction you must take he will unbeknown to himself be lead¬ 
ing you and not know he is doing so. 

The hidden article is recovered (practically by his leading performer to its hiding 
place) and performer has put over a test that is great for getting a lot of publicity 
and when properly done it will get into the local newspapers and if the theatre .press 
agent knows his business and has a few reporters present you may “burst forth” on 
the front page of a paper. 

Of course, there are times when the manager of the theatre is personally ac¬ 
quainted with several well known men in a town and if properly approached the 
manager might enlist his friends to “frame” a little publicity stunt and then what 
wonderful(P) tests can be arranged! These “framed” tests, of course, never fail! But 
it is best to watch one’s step, unless the house manager can be trusted, as many well 
meaning people are, many times, out to “stick” a mind reader and the old adage, “an 
ounce of prevention is worth a pound of cure” holds good in the work of a Mental 
Telepathist. 


A SENSATIONAL PUBLICITY TEST 

A Hidden Article Is Located by the Performer After Traveling a Certain Route, 

Done Without Muscular Contact 

Performer undertakes a test in which he will endeavor to read a person’s mind 
in this way:—A person of some standing in the city or town performer is playing, is 
instructed to hide a certain object anywhere he desires. Without muscular contact 
or any questioning the performer is to be “willed” to the place of concealment of the 
object, and along the same route taken by the man who hid object. 

Performer should have the theatre manager or the house press agent see that 
as many newspaper men as possible should be present during the carrying out of the 
test. 

The day or evening before the experiment is to take place the party selected hides 
the article and lets no one into the secret. 

The performer makes three conditions for the test: first, that he shall see the arti¬ 
cle before it is hidden; second, that the person hiding it and who is to act as the per¬ 
former’s “mental guide” the next day will promise to concentrate on route he took 
when going to conceal the object and third that the “guide” will walk behind the per¬ 
former during the test and mentally direct him along the right direction. 

It is agreed further between the performer and the “guide” 'that no questions shall 
be asked or answered during the test and that there will be no physical contact. 

The article is shown the performer and hidden. The next day, at an appointed 
time from either the lobby of the theatre or some place picked out by the “guide,” the 
performer blindfolded by a selected committee, starts out closely followed by the 
“guiding” party. The performer, thanks to the mental willing (?) of the “guide,” is 
successful in following the same route (as that taken by the “guide” the day before) 
and locates the concealed article much to the delight of the spectators. Then the 
newspapers of the city or town where the test takes place gives the mind reader, if 
he has put over the stunt well, columns of publicity. 

The performer should impress on the minds of the spectators, before starting 
on the test, that he is entirely unfamiliar with the streets of their “delightful city” 
and all that sort of stuff. 

It depends a great deal on the showmanship of the performer to carry this pub¬ 
licity test to a successful end. This test is a bit more trying and harder than the 


29 




previous publicity tests explained, but with plenty of nerve and close observation the 
test will not fail to bring forth the plaudits of both the press and public. 

The whole test hinges on the performer’s study of the shoes of the man who is to 
act as “guide” in the test. Of course to simplify matters your manager or one of your 
trusted assistants can have a certain mark on his boots that no one else yvould notice 
but yourself, as you two have agreed upon it and as will be seen later the assistant in 
collusion with you can follow closely the way the committeeman’s (the man who does 
the hiding and is supposed to mentally direct your efforts) feet are turned, indicating 
direction, and he can turn his feet the same way so in case you should slip up you can 
at once turn your eyes, seeking out by the agreed upon mark, to the shoes of the as¬ 
sistant, thus “getting” the proper direction to take next. Although with a little prac¬ 
tice this will be unnecessary, as you will get used to following the other fellow’s shoes. 
Sounds a bit foolish, what? But nevertheless it isn’t. It’s a fact and upon this hinges 
the whole success of the test. 

When you are introduced to the man who is to work the test with you study his 
boots, try to pick out some distinguishing mark on them or how his trousers fit over 
them and just what color trousers he is wearing. This all helps out. 

You greet him and speak to him something like this: “My success or failure in this 
experiment today depends on you, Mr. So-and-So. I am merely the passive agent; 
you the active one. It is you who will be the one to will me to find the concealed 
article (naming whatever it happens to be) and upon your concentration depends the 
success of this test. I shall depend on you to exert all the strength of your will 
power to guide me in the proper direction. Of course there will be no exchange of 
words between us nor any physical contact as were employed in olden methods. If 
you will me in the right direction by keeping your mind completely on that route I 
shall succeed; otherwise it will be a waste of time. Walk several feet behind me and 
keep your mind concentrated on the route you took when you concealed the article. 
If I go in the right direction mentally will me to continue, but if I am going wrong, 
stop yourself, and mentally command me to stop as well. All that I ask is that you 
shall not will me along the wrong route and constantly cencentrate on the proper 
direction I am to take.” 

This is stretching the truth but it sure does impress both the man with whom you 
are to work and the rest of the spectators who literally “eat up” this sort of bunk. 

You then allow the committee to bandage your eyes. This done to their satisfac¬ 
tion you lift your eyebrows to work the bandage a bit loose, then look down the sides 
of your nose and you can see downward enough to answer your purpose. 

Now comes some acting. You grope about, stumble a bit and circle round once or 
twice (with hands outstretched) until you bring the shoes of your committeeman 
within your range of vision. His toes are naturally pointing in the direction he is 
concentrating and “mentally willing” you to go. After a little more stumbling 
and groping you start off in direction his toes are pointing. 

Before this the performer should have a rough idea about the city in which you 
are playing and going to make this test. The article, it must be understood by the 
concealer, should be hidden within a radius of a mile—of the starting point. 

You can easily follow the curb of the street and all the while keep an eye on the 
boots of your guide. Now you are called upon to do some more acting, in which in¬ 
stead of staying in a straight route, walk from one side to another, and if the oppor¬ 
tunity presents itself blunder into a passerby. Now and then go into a wall and grope 
about with your outstretched hands as if feeling your way. These actions satisfy the 
onlookers that you cannot see and are going it blind(?). Once in a while say to your 
guide, “Be sure and will me along the right route. Don’t let your mind slip from the 
route for a moment. I am depending upon your mental willing.” The following crowd 
will eat this up too. At each corner you circle round so as to get the shoes of your 
guide within your range of vision. When circling and groping now and then change 
your tactics so someone in the crowd won’t get suspicious. Soon you will t reach the 

30 







end of your route and by closely watching the feet of your guide you will arrive at 
the place where the article is hidden. Fish around and locate it and then—well, you 
have earned another batch of press notices. 

A VAUDEVILLE MIND READING ACT 
Introducing a Compilation of Methods Known to the Profession from Which 
Any Part, With Proper Treatment, Could Be Made Into an Act, Complete in Itself 

Curtain rises on full stage (special “set” may be carried if wished by performers, 
or back house drop (interior) used). No “props” of any kind on stage except a cane 
backed chair upon which the medium sits throughout act. Stage and house lights on 
full throughout specialty. 

Performer enters and in a short to-the-point speech, something like the following, 
tells of the medium’s powers. 

Ladies and Gentlemen :— 

It is the pleasure of Madame—and myself—to appear before you this 
evening (or afternoon) and present for your approval a series of experiments 
in latter day thought transmission, also known as Mental Telepathy and Mind 
Reading. We lay no claim to supernatural aids or powers but only to the fact 
that w’e will demonstrate and prove to you that it is simply a case of two 
minds acting in unison, or I might say, two minds that act as one. Kindly 
have articles you wish Madame to name ready, and later perhaps I will en¬ 
deavor to transmit perhaps your innermost thoughts to Madame -. 

After introducing Madame - I will pass through the audience and 

while doing so I will request that perfect quiet will prevail during our per¬ 
formance, as the Madame is under severe mental strain during these experi¬ 
ments. 

Allow me to introduce Madame - 

Chord by orchestra as the Madame makes her entrance. Madame bows to audi¬ 
ence; performer leads her to chair. Music continues a wierd oriental fantasy played 
very softly while performer blindfolds her. After Madame is blindfolded: Performer— 
“Thank you. (Orchestra stops playing.) I shall now pass up the aisles and Madame 
will endeavor to name various articles.” 

Performer passes quickly up one aisle and down the other, the Madame (medium) 
naming various articles touched, performer doesn’t say a word during this test. Per¬ 
former now slowly goes up and down the aisles and to the boxes. The medium de¬ 
scribes various articles members of the audience desire described. A very few words 
are spoken by performer in tansmitting descriptions, etc., to medium the act is all the 
more mystifying. 

HOW IT’S DONE:—There are a number of methods employed in this act. The 
act as it stands was “framed” by me for a well known mind reading act. Recently 
they have broken in a new act, so I am at liberty to publish the method originally 
compiled by myself for these clever performers. 

The first series of articles and things named by the Madame, on the stage while 
the Performer passes quickly up one aisle and down the other, touching them, are 
prearranged or in other words the performer and the medium have memorized a num¬ 
ber of articles and things in rotation which the performer touches. It is well to have 
three charts or lists memorized in order that should the act be doing three shows 
they will be fooled as the same articles are not named in rotation at either of those 
performances. The charts can be switched around as the perfromer wishes, he telling 
the medium which chart they will use on the different shows. 

The paramount idea in the minds of all mind reading acts should be to mystify 
as many as possible at all times possible. 

The following charts of prearranged items may be used or the performer can 
draw up his own charts 


31 





1 . 

Handkerchief 

2. 

Bracelet 

3. 

Lady’s ring 

4. 

Lady’s hair 

5. 

Hat 

6. 

Watch chain 

7. 

Lavalierre 

8. 

Man’s ring 

9. 

Programme 

10. 

Lady’s hand 

11. 

Stickpin 

12. 

Necktie 

13. 

Coat 

14. 

Glasses 

15. 

Wrist watch 

16. 

Emblem 

17. 

Gent’s ring 

18. 

Gent’s hair 

19. 

Waist 

20. 

Lady’s ear 

1 . 

Stickpin 

2. 

Hat 

3. 

Watch chain 

4. 

Programme 

5. 

Lady’s ring 

6. 

Necktie 

7. 

Handkerchief 

8. 

Wrist watch 

9. 

Bracelet 

10. 

Lavalierre 

11. 

Lady’s hand 

12. 

Man’s ring 

13. 

Lady’s hair 

14. 

Gent’s hand 

15. 

Waist 

16. 

Gent’s hair 

17. 

Glasses 

18. 

Coat 

19. 

Lady’s ear 



1. Lavalierre 

2. Necktie 

3. Gent’s hair 

4. Hat 

5. Bracelet 

6. Handkerchief 

7. Programme 


8. Lady’s ring 

9. Man’s ring 

10. Watch chain 

11. Lady’s hair 

12. Wrist watch 

13. Gent’s hand 

14. Emblem 


15. Stickpin 

16. Coat 

17. Lady’s hand 

18. Lady’s ear 

19. Glasses 

20. Waist 


After each named article or thing, at times, iLwould be a good idea for the per¬ 
former to remark, “Yes!” or “Right!” after the medium names them. When these two 
affirmatives are continually repeated it also lends more mystery to the act. 

This act carries three people; performer in audience, medium on stage and a con¬ 
cealed assistant back of stage. Of course this act could be arranged easily for only two 
people if such is desired by performer. 


32 

































The concealed assistant is used to spot out various articles touched by performer, 
thus getting away from the prearranged charts. I deem it advisable to carry an assist¬ 
ant who is really more than just a person concealed back stage who peeks out through 
opening in back drop or from wings and telephones information to the medium. 
(We give, in another act, signals, etc., which would be useless if a third party wasn't 
employed in the act; unless a “doctored” blindfold was used by the medium. These 
signals could also be used in this act if the operators so desire.) 

Were I doing a mind reading act now, as I have always told my friends and fellow 
entertainers, I would have another fellow broke into the act and he and I would be 
really doing the act and the lady medium be only a sort of puppett trained to answer 
questions when I transmitted them, not to the lady, but 'to the concealed assistant, he 
receiving the signals and phoning descriptions, names, etc., to the Madame. The 
Madame would not know our code and if any misunderstanding, quite a common oc¬ 
currence in this sort of act, should arise between the medium and myself I would 

break in another lady for the act and allow the other medium her freedom and she 

would be none the wiser. 

Another thing about this act is that the lady has a sort of invisible telephone ar¬ 
rangement (see drawing) dressed into her hair, which is draped becomingly low on 
and beneath her ears, with the wires from receiver, in hair, running down beneath the 
clothing into shoe tops, down the inside of the instep, on both feet, with ends 
of wire running out through a small hole punched into shoe where the upper leather 
joins the sole just in front of the heel. One spur plate should be screwed flat and 

firmly on the heel of each shoe, the binding being at the front of the heel and the 

points forward. The floorplates are laid on the stage in front of cane chair. (Cane 
chair being used to do away with any thought of a connection with chair as in olden 
methods.) A thin carpet or rug is laid over the floorplates to conceal them. The rug 
must be thin, so metal points in medium’s shoes pierce through the rug and connect 
with the floorplates which are placed about four or five inches apart. The wires con¬ 
necting to plate and batteries is run off stage under floor cloth (which every theatre 
has) and off to transmitter held by assistant into which the assistant telephones the 
various information necessary to the medium on stage. The medium seats herself in 
chair and is careful to place one foot on each plate and pushes the spike-ends on her 
shoe bottoms into plates making the connection. Experimenting will determine length 
of wire and how many batteries to be used for apparatus. Storage batteries can be 
used if performer understands how to use them. I have seen an electrical mind reading 
outfit fitted for both the use of floorplates and in using induction which was plugged 
into stage plugs and employing a transformer to reduce voltage. Anyone wishing to 
secure apparatus of the electrical kind will be supplied with address of an electrical 
expert who is also a magician, dealing in electrical magical specialties, upon the receipt 
of a stamped, self-addressed envelope sent either to the author or publisher of this 
book. The induction method is employed in an act found in another part of this 
work. 

Together with the prearranged charts, and the third party in the act watching 
the performer’s movements while in the audience (viewed through a pair of powerful 
field glasses) the performer also uses, in the act, a verbal word code to assistant or 
medium or a signal code to assistant back stage who transmits it to the medium via 
the telephonic apparatus. 

A big effect, that is many times well worth the extra expense incurred, is that of 
using “plants” (persons in the pay of performer) who have unusual articles which they 
request the performer to have the medium describe in detail, messages they refuse to 
leave out of their hands and so forth. The Madame describes quickly and in full -these 
various tests, thus making the audience believe the Madame could tell the same 
things just as accurately about their own things and messages if time permitted, thus 
adding a hundred-fold to the mystery of the act. Then again these “planted” tests, 


33 




as well as the prearranged ones at beginning of specialty, take up time and help the 
performer to avoid what might prove to be embarrassing moments. “Planted” tests 
should always be changed at every show and every day as someone might discover the 
fact that these persons with unusual and lengthy tests are employed by the performer. 
These local assistants can also be used to get information ou't of others they might 
know who will attend the performance at some time during the week and what con¬ 
vincing tests Madame can give should the performer be tipped off that they art ‘.n the 
audience. 

In an audience there are a limited number of articles to be found. Many times 
the performer (in audience) may be hard pressed and have to wiggle his way out of a 
“terrible moment,” but if he keeps his eyes open he hasn’t an awful lot to worry about. 

Naturally it is best to keep away from the olden-time verbal codes with which the 
performer has to shoot a dozen words across the heads of the audience to convey to 
the medium the desired information. Codes have been devised in which a number of 
words are done away with, but seldom do these codes appear in print. 

The following code is used to indicate from the numeral one to cipher (0). This 
code was devised, I believe, by a writer on things magical. It has been tried out and 
used successfully. Memorize the two sets of words to indicate these same numbers as 
words in first column are very similar and should be used as often as possible, as this 
will lead your audience to believe you are using the same words over and over. This 
truly is an improvement over all other codes. The reason for learning the two codes 
is should you have to signal number five for your first article you would be cornered so 
you use the number five starter, “Name (this),” and go right along and no one is the 
wiser. 


QUESTIONS 

1. What (is this) 

2. What’s (this) 

3. What now? 

4. Now what? 

5. And now? 

6. (And) this? 

7. This article? 

8. Next? 

9. And here? 

10. Over here? 

11. Over there? 


STARTERS 

1 . -- 

2 . - 

3. Describe (this) 

4. Tell (this) 

5. Name (this) 

6. Give (this) 

7. State (this) 

8. Look (at this) 

9. Picture (this) 

10. Quick 

11. See (this) 
AFFIRMATIVES 


1—That’s right. 2—Right. 3—'Good. 4—Very good. 5—Right sir? 6—Yes. 
7—Well? 8—Correct. 9—Go ahead. 10—Go on. 

The medium and assistant both know when you have completed prearranged 
routine at opening of act that you are going to “send” articles next so your signals 
will be for only the article list. To make things a lot easier and to make the words 
used seem the same to the ears of the audience this same writer has arranged the list 
of affirmatives, which after the medium has correctly named the article in question 
you make use of to inform her she is right and at the same time serves to give her 
the number of the next color. For example: Performer—“Describe this.” Medium— 
“It is a watch.” Performer—“Right!” (the next point is the color; she sets the signal 
“Right” (No. 1) to color table which is either “White” or “Silver,” and as it is a watch 
it must be of metal. Medium—“It is a silver watch.” Medium now goes on to tell 
time by the watch. 

In meantime performer has noted time by the watch and is ready to signal first 
figure of time with next affirmative. She already knows what time the hour is, as she 
knows what time the act went on. Say time is 9.21, he signals her the first figure of the 
minute hand which is “two,” so in reply to her description of the watch the following 


34 





dialogue takes place: Performer—“That’s right.” Medium gets the “2” signalled but 
only says :—“It is a little after nine o’clock.” Performer—“Right.” (thus “one is sig¬ 
nalled to tier). Medium—“It is now just twenty-one minutes after nine.” No ques¬ 
tions are necessary. You start on an article and medium goes ahead and describes it. 

Routine with coins : medium names in rotation metal, value and date. Should you 
come across a coin you are not familiar with have metal and date told by medium 
or pass it up with the remark, “Madame is not familiar with foreign coins,” and 
quickly pass on to next member of audience with test. A “plant” could be used here 
to have a foreign coin and get into a mild argument with the performer. The per¬ 
former tells him that, after a few words, he will satisfy the skeptic and have Madame 
concentrate on coin and coin is fully described, thus putting the wiseacre(?) and 
skeptic out of the running. This sort of test always gets a big hand for the medium 
and performer. 

As long as you continue using affirmatives medium continues, in prearranged man¬ 
ner, to go on, but as soon as you call her by name she understands you are ready to 
take up a new object. When you say, “Madame concentrate, etc.,” have your medium 
understand that that is the signal warning her to be careful and watch out. 

At beginning of act you can do away with using pre-arranged codes by using the 
following method:—First walk through audience and have the medium name a num¬ 
ber of different articles rapidly, using his question code to signal thus: (1) What is 
this?” (4) “Now what?” (10) “Over here?” etc.; having arranged a chart with articles 
such as 1. Handkerchief; 2. Gloves; 3. Programme; 4. Watch; 5. Necktie, etc. 
When you come to an article like a watch or coin where color, value, date or initials 
may be given, stop and use the affirmative list. Don’t waste time in descriptions of 
articles unless they are of unusual interest except of course those articles or mes¬ 
sages you have “planted.” 

Detailed descriptions of “planted” articles are always impressive. In midst of the 
second or third test of this sort stop the medium and tell her time won’t permit a 
further detailed description. This not only convinces the audience but enables per¬ 
former to get a “lead” for an excuse to pass up some undesirable object. If some¬ 
thing is sent to medium and she don’t just get it she remarks, “I am unable to see 
the article plainly . . . it is indistinct ... I will have to pass it up.” Quickly 

the performer shoots back, “Madame, concentrate!” which means “Be careful.” 

In transmitting letters for initials on watches and cigarette cases and names of 
the various well known watch movements the alphabet etc., is arranged in the fol¬ 
lowing manner:— 

Can.1.A 

Say.2.B 

Tell. 3.C 

What.4.D 

Name.5.E 

Quick.6.F 

Give.7.G 

Please.8.H 

Kindly.9.1 

Prefixing “Madame” before code word sends “J” or 10. 

Prefixing “Thank you” before code word means “T” or 20. 

For example: a watch is handed performer with the initials “D. J. L.” You 
transmit the initials in this way: “What (D) initial Madame?” (J) “Madame (10) say 
(2)=12th letter is ‘L’ it!” Medium answers: “The initials on the watch are T>. J. L.’ 
A cigarette case engraved with initials “R. W. D.,” would be sent thus:—Madame 
please (10 and 8=18th letter which is “R”) go on! Thank you! Tell me (20 and 
3=23rd letter or “W”) what else? (4th letter is “D”) therefore initials on case are 
“R. W. D.” Care must be exercised in transmitting initials. Numbers on watchcases 


35 













or works can be transmitted in same manner although there are many simpler meth¬ 
ods to send numbers. 

For the names of various watch movements use the following code:— 


1.—A. 

Waltham 

6.—F. 

Hamilton 

2.—B. 

American 

7.—G. 

Illinois 

3.—C. 

Rockford 

8.—>H. 

Swiss 

4.—D. 

Hampton 

9.—I. 

Elgin 

5.—E. 

Ingersoll 

10.—j. 

Standard 


11.—K. Waterbury 

A laugh can be raised by medium when performer says, “This timepiece, Madame. 
Name it!” Madame knows it is an Ingersoll by cue “Name it,” which is Number 5 
or “E,” so she “stalls” a bit and says, “I can easily tell the name of that timepiece 
from here. It’s an alarm clock. Beg pardon, sir, it’s an Ingersoll.” 

When breaking in your act be on the alert at all times. Look out for the “wise- 
aleck” who awaits a chance to put one over on you. You’ll find them in every 
audience in every town. While making your way down the aisle don’t look directly 
at anyone but keep your eyes open for articles that will make simple tests. Learn 
to get out of a tight place . . . books will never teach you this. Only experience 
will. Keep your wits about you, feel confident and you will be successful. In an 
audience spot out a person who looks likely and ask him to let you take some article 
like a cigarette or cigar case, a watch etc. He may be good natured and comply 
with your request. There are many tricks the mind reader learns, which only can 
be learned by the experience of working to an audience. Now for the following 
charts :— 

COLORS: 1—While. 2—Yellow. 3—Red. 4—Blue. 5—Orange. 6—Pink. 

7—Green. 8—Purple. 9—Brown. 10—Black. 

METALS : 1—Silver. 2—Gold. 3—Copper. 4—Gunmetal. 5—Brass. 

6—Platinum. 7—Nickle. 8—Oxidize. 9—Bronze. 10—Iron. 

Chart for United States coins: 1—Cent. 2—Nickle. 3—Dime. A —Quarter. 
5—Half dollar. 6—Dollar. 7—2.50 gold piece. 8—Five dollar gold piece. 9—Ten 
dollar gold piece. 10—Twenty dollar gold piece. 

In coin list should you receive a silver dollar transmit it in this way, “What . . . 
what is this?” The repeat, as if performer is wrapped up in coin (as there are 
comparatively few “cartwheels” in circulation today) is cue to medium that it is 
a silver dollar performer holds. 

Of course if a good verbal code is learned by either performer and medium or 
performer and concealed assistant many more tests can be undertaken. The student 
can suit himself. Elsewhere in this book will be found detailed explanations of mind 
reading acts in which there is no employment of a code of any kind. It must be borne 
in mind that usually vaudeville mind reading acts have a running time of from 
twenty to twenty-five minutes and that too many tests should not be attempted. 

A novel act for vaudeville theatres was an act I devised some time ago to use 
in vaudeville but due to being, at the time I wished to present the act, unable to 
secure a suitable medium I laid aside the idea ... it was a novelty mental telepathic 
act in which not a word was spoken throughout the turn yet the performer went 
among the audience with a pack of newly opened cards, which were shuffled by a 
member of the audience, persons in different parts of the theatre were to select cards, 
free choice being given with pack in their own hands, and after the entire deck was 
scattered performer was to have medium name card held by parties pointed out by 
performer and short fortunes of the holders of cards were told after cards were 
named by medium something in this fashion: Madame:—“I get the impression of a 
red card. It is a heart card. There are ten pips on the card. The ten of hearts 
signifies good fortune, yes sir, you will have good fortune and your efforts will be 
well rewarded, etc.” This act would have been a novelty, and what is more to be 


36 




desired in vaudeville, something different. If performer wishes to use playing cards 
in his act he might use the following chart to transmit names of cards by verbal code 
to the medium. Suits of cards can be signalled assistant who watches thru field 
glass and telephones medium information gained by the various positions of the 
performers hands. 

PLAYING CARD CHART SENDING SUIT OF CARDS 


Ace .Well Hearts:—Performer’s hand rests on back of 

Two .Now seat. 

Three .Can Diamonds:—Performer’s hand in trouser 

Four .Tell pocket. 

Five .What Spades: — Performer’s hand toys with 

Six .Which watch fob or chain. 

Seven .Please Clubs:—Performer toys with ear. 

Eight .Next 

Nine .Come 

Ten .Kindly 

Jack .What 

Queen .What’s 

King .Madame 

Joker .Try 


Of course this is NOT my method but will answer the purpose and go over. Any 
standard work on fortune telling with cards will give you the various significations 
of playing cards although I was going to use an entirely original set especially adapted 
(interspersed with laughs) for present day vaudeville audiences. 

PUBLICITY TESTS FOR MIND READERS 

These Tests Can Be Worked In Clubs, In Any Hotel or Office Building 

These stunts or tests are usually presented by the mind reader in the various 
towns or cities he is playing. They usually get a lot of newspaper notices and boost 
the act along in general. 

TEST ONE:—Some w T ell known man, say the mayor of the place, is asked to 
participate in working these tests. This is done to avoid the spectators thinking the 
party selected by performer is in collusion with him. We will say this test takes 
place in the hotel where the performer is living. 

The mayor is given a piece of c'halk and told that after the performer is blind¬ 
folded by any persons he may choose, he (the mayor) is to draw a chalk line starting 
from where the performer stands to any part of the hotel. The line can go down 
stairs, up stairs (and as far as the performer cares, in keeping with the nursery 
rhyme) in any lady’s chamber . . . or in other words anywhere the mayor may choose. 
Performer instructs him to make crosses here and there along the line and providing 
he (the mayor) concentrates strong enough the performer will stop when he comes to 
these crosses. Mayor continues the chalk line, putting in as many turnings and 
crossings as he pleases, and as far as he likes providing he remains in the building. 

Somewhere at the end of the line, the mayor is instructed to conceal some small 
object such as a fountain pen, a pin or a cuff link, and the performer will endeavor to 
locate it. 

The only conditions the performer requests is that he shall be shown the object 
to be concealed, and that the gentleman who hid it, with his mind concentrated on the 
route he took, will walk several feet in back of performer “willing him” on the right 
route while the test is being carried out. 

This is done and the mayor returns to the place where the performer stands 
blindfolded. The performer is ready to start. Off he goes, following line. When he 
arrives at spots where crosses have been marked with chalk he stops and says, “I 


37 

















get the vivid impression that beneath me there is a chalk mark. Am I right?” When 
told he is, off he goes again. This is repeated and along he goes until the end o<f the 
line is reached. Then the performer, still blindfolded, locates the hidden object much 
to the mystification of the mayor, the committee and the spectators. 

The “how it is done” is exceedingly simple but the performer must be a good 
actor and play his part well at the same time throwing all the mystery he can into 
the stunt without overdoing his part. 

When blindfolded, by raising your eyebrows several times, you can lift the blind¬ 
fold a bit and by looking down the sides of your nose you will have no difficulty 
in tracing the chalk mark wherever it leads. 

Stop when you come to a chalkmarked cross and pretend you are working under 
severe mental strain which all adds to the effect. Grope around a bit, now and then, 
and stumble occasionally as a blindman does but whatever you do do not overact your 
part as you must do everything you can to avoid arousing suspicion in the minds 
of the onlookers. 

Make it a point to be blindfolded before the chalk marking is carried on. While 
waiting you will have plenty of chance to manipulate the blindfold as explained be¬ 
fore. When you start on the test all you have to do is follow the line. 

When you arrive at the end of the chalk mark, fish around a bit and find the hid¬ 
den object which will prove to be a simple matter. 

TEST TWO: This test is worked in either the hotel or a newspaper office. Per¬ 
former asks chosen committee to name various tests medium should perform. As 
each test is selected, and they are not influenced in the selection of the tests, the per¬ 
former jots them down in a notebook. When a number of tests are chosen he hands 
the book to one of the committee instructing that party to see that the medium car¬ 
ries out the tests correctly. My method: Between the pages of the notebook, which is 
one of the vest pocket variety, lies one sheet of prepared paper not quite as large as 
the page itself. The paper is prepared in this manner: A piece of carbon paper is laid 
onto the sheet and the bottom and top edges, are pasted onto the piece of paper. 
Paper and carbon should lie perfectly flat. Use glue that will leave no “bumps” in pre¬ 
pared sheet. 

This prepared sheet lies under page at which the performer opens the book to 
write the various tests. He sees that there are only five or six tests as he wants to, un¬ 
beknown to committee, use only the one page for tests. After the tests are noted 
down the book is closed by the performer, who extracts and crumples into a small 
ball, the prepared sheet. This can be done easily after a little practice. 

The book is first handed to the assistant who is among the committee (unknown, 
of course, to committeemen). Performer tells him to hand it to one of the other gen¬ 
tlemen which he does. When the performer handed the book to the assistant he also 
hands him, unseen .by committeemen, the crumpled prepared page. The assistant 
“palms” this and holds it for the next move which is made when the committee arrive 
at the door of the Madame’s room in the hotel. 

The performer remains smoking and chatting with one of the committeemen, after 
giving the others the name of medium and the room number. The other gentlemen, 
accompanied by assistant, (assistant is introduced to the gentlemen as a friend of the 
theatre manager and a committee should, if possible, be chosen who are not known to 
one ano'ther and are introduced by performer) go to the medium’s room. 

Knocking at the door, the medium opens it and seems surprised. When they ex¬ 
plain they have a number of tests for her to carry out, she tells them she will meet 
them in the hotel parlor in a few moments. 

Now comes a bit of delicate work .... assistant, when madame closes the door, 
sees that he is behind the other gentlemen as they are leaving for the parlor. He con¬ 
tinues to discuss tests with the others and a little way from Madam’s door, he drops the 
crumpled prepared sheet, which he has palmed or taken from pocket, a little way from 


38 








medium s door. This is done to avert suspicion should one of the men glance back. 

After coast is clear Madame gets the paper, on which the duplicate tests are writ¬ 
ten and which was dropped by assistant, and memorizes them. If her memory won't 
stand the test she can he helped out by indications, secretly given by assistant, when 
she joins the gentlemen a few moments later in the parlor of the hotel. 

Committee explain what they wish of her and when enlightened Madame makes 
some sort of an excuse about not being prepared for tests but she will endeavor to get 
their impressions if they will concentrate on their individual tests. This is done and 
the madame accomplishes the various tests successfully. Madame bows herself from 
parlor and leaves for her room. The committee re-join the performer and his com¬ 
panion and report on the success of Madame. 

A good impression is obtained by the gentleman selected to remain with per¬ 
former giving a test. When medium comes to that test, by some prearranged sign be¬ 
tween assistant and herself, she says, “There is a test here that was selected by some 
gentleman who is not present.” This is sure to create a small sensation if the medium 
as an accomplished actress. 

In print this hotel test may sound impossible of accomplishment. The professional 
will readily see the possibilities. But whoever the reader is, before he condemns it, 
let him try it out. Of course, if you are a bungler let it alone and if your assistant 
happens to be one of the fifty-seven varieties of “dumphool” pass it up. I doped it out 
sometime ago and have worked it many times very successfully. 

TEST THREE: Another publicity test familiar to most mind readers and given 
here as a matter of completeness is worked as follows : Performer tells some news¬ 
papermen that his medium has wonderful powers and to prove it he will test these 
powers from a distance. Two or three playing cards are selected by a bystander; some¬ 
one’s initials are chosen; a pair of dice are rolled; dates and time are written (not 
necessarily the date or time experiment is taking place) and a series of figures or sev¬ 
eral words are jo'tted down. Two of the gentlemen present are chosen as the committee. 
They take pen and paper and a fountain pen to the medium’s room, at the hotel, and 
hand the madame the pen, ink and paper, and in a few moments she hands them the 
paper upon which the various tests have been correctly written. Various variations 
are made to the tests, by different performers, viz., one of the committee write a short 
letter and Madame writes the letter over again, word for word, and still the committee¬ 
man has the original letter he wrote on his own paper sealed and in his pocket. Then 
again cards may be selected from a new pack brought by a member of the committee 
and the medium writes the names of these selected cards in order they were selected 
from deck. In all these methods the same modus operandi is employed. 

The whole thing in a nutshell is that the performer has a book of cigarette papers 
and a short blunted pencil in his pocket. He tells the committeemen that he will not 
even touch the paper tests are written on and which are to be kept by one of the gen¬ 
tlemen. In your vest pocket you have a fountain pen. This plays an important part 
in any of these tests. If cards are selected first the names are jotted down in order 
that they are drawn from the deck. Initials are written and performer writes them 
on his tissue paper pad, and so on. Number each test, so the medium can write them in 
proper order. When all is ready, tear off the sheet you have been writing on, roll it 
into a ball and finger-palm it. Ask one of the men to take the paper they have written 
the various tests on and seal it in his own envelope and place it in his pocket. While 
this is being done take out your fountain pen and drop the rolled up tissueball into 
the cap of the pen. You can, if ball don’t fall on top of penpoint and get inked, close 
pen or you can place the cover on end of pen as you do when writing. Explain you are 
sending your pen in case the madame has no ink. Clever performers can take the com¬ 
mitteeman’s own pen and drop the tissue ball into it. 

They then go 'to the medium’s room while one of the committee remains with the 
performer. Madame admits them and taking pen and paper excuses herself telling 
them she must be alone to properly concentrate and goes into another room. Soon 


39 



she re-enters and hands them a sealed envelope with instructions to carry it back to 
the performer. This is done and when the envelope is open the various tests are writ¬ 
ten on it in proper order they were selected. This can also be done by having your as¬ 
sistant among the committee. He gets the small tissueball with the information and 
slips it to the madame when an opportunity offers itself. Should an opportunity not 
offer itself he makes one .... which is all in the mind readers game. 

TEST FOUR: The performer visits a newspaper office and while chatting on 
“thought waves” and “mental currents” tells the editor he will prove to them that 
there is such a thing as long distance telepathy. He continues, “In a pack of playing 
cards there are fifty-two cards and the joker. Picture in your mind a pack of cards 
and from this imaginary deck select a card. What is it? (Say it is the ten of dia¬ 
monds). Jot ‘that down in a book or on a piece of paper. Right! Now write a note 
to my medium asking her to write the name of the card you pictured.” This is done 
and the person writing may word the note as he desires. The performer supplies the 
name of medium, hotel and room number. Note is sent to madame by a member of the 
editorial staff. 

“Make a mental picture of the card you selected,” continues the thaumaturgist, “con¬ 
centrate and “will” my assistant to think of the ten of diamonds.” 

The reporter returns and hands his chief a sealed envelope sent by the medium. 
Upon opening it the editor finds a message something like this: M>r. So-and-So you 
have selected the ten of diamonds. 

Secret: Card from imaginary pack is selected, and named. After instructing 
editor to write a note to the medium, performer asks some spectator for a piece of 
paper and an envelope. Editor writes note and performer holds envelope as if waiting 
to hand it to editor but in reality marks it as explained later on with nail nicks cor¬ 
responding with the card selected. 

Note is placed in envelope and 'sealed by the editor who then dispatches it to the 
medium by one of his men. Madame gets it, deciphers the nail nicks and by judicious 
“pumping” secures name of the reporters superior or whoever wrote the note and 
selected the card. She then writes the name of card selected, seals it in another en¬ 
velope and sends it back with the reporter. 

The nail nick code for suits are nicked on back of envelope in this manner: 
Clubs, a nick near top in left hand corner; Diamonds, no nick at all; Spades, nick in 
center; and for Hearts, a nick in lower right hand corner. 

The nick code for the different cards are made by the fingernail on face of the en¬ 
velope as in drawing. Should the Joker be selected no nicks are made on face of en¬ 
velope. 



TEST FIVE: Instead of the cards being selected, as in Test Four, any initials 
may be chosen. The effect is about the same except there are more fingernail nick- 
places. 

Nicks are made on both front and back of envelope. In the alphabet there are 

40 



twenty-six letters. Drawing for cards shows thirteen numbers on face of envelope. 
There are thirteen other numbers on back. Letters from “A” to “M” are coded on face 
of envelope and from “N” to “Z” on the back. In this method of coding the initials 
“M. R. L.” would be transmitted to the medium; 13 nicked on front of envelope; 18 on 
the back; and 12 on the face. 

Extra nail-nicks next to nick indicting letter indicate rotation in which letters 
were selected, viz., in coding “M. R. L.” the telltale marks on the envelope would be 
two marks at 13 for letter “M” and an extra nick for indicating that was the first let¬ 
ter; “R” would be a nick at spot 18, on back of envelope with two other nicks next to 
it indicating that was second letter chosen; and at 12 there would be three close to¬ 
gether nicks indicating that “L” was the third chosen letter. 

Performer should wear his fingernails fairly long so nicks can be properly made. 
Be careful you don’t nick envelope up with long nicks as that might arouse suspicion 
if messenger should examine it while on way to medium’s hotel. 

TEST SIX: Performer borrows a deck of cards, has one selected and replaced in 
pack. Pack is wrapped in a piece of paper and carried to medium who writes the 
name of selected card. 

The effect while really a conjuring experiment is worth trying as a mind reading 
stunt. 

The card is freely selected but when returning it to the pack the performer im¬ 
presses on the minds of the spectators that they shall concentrate on the name of the 
card and thereby depends the whole secret. Performer nicks the selected card with 
his fingernail. Cards are now handed to someone to shuffle, and seal in paper. When 
medium gets it she looks for card with nail nick on it and writes the name of that card 
on a piece fo paper and seals it in an envelope and sends it back to performer who is 
waiting with committee. 

SILENT THOUGHT TRANSFERENCE 

The medium seated on the stage blindfolded can tell the suit and value of any num¬ 
ber of selected cards, solves arithmetical problems, gives numbers of borrowed bank 
notes, tells time by any watch, describes borrowed coins, gives proper names as se¬ 
lected, and many other interesting tests. All this is done in absolute silence and while 
the lady is unable to see, as the blindfold is genuine in this case. 

In this feat a Silent Code is employed. 

The principles and details of this Code are easily acquired and there is no elaborate 
code to learn. 

By means of this code all the usual effects generally exhibited in Thought Reading 
performances can be reproduced. The medium is completely blindfolded. Performer 
does not speak to her throughout entire performance. 

The secret is that both medium and performer count mentally and together. The 
beats for ‘common time’ are always the same in music, therefore with little practice it 
is an easy mat'ter for two persons starting at a given signal to count at the same time 
and rate, and when another signal is given to stop, they will both arrive at the same 
number. This is the method employed in this code and from it you will see that any 
number from one to nine can be transmitted by the performer to the medium; which is 
all that is required. 

It is best to experiment and find out what rate of counting best suits the two persons 
employing the code, but the following suggestions are offered. It may perhaps be best 
to commence counting at a slow rate; then gradually increase until you find advisable 
to go no quicker, and then adhere to one rate and always keep it. 

Say you have in the room when first practicing, a loud ticking clock, with a fairly 
slow beat, on the given beat or signal you both start counting at the same rate as the 
clock. The clock is removed when the rate has been well learned. On the other hand 
count at the rate of ‘common time,’ viz.: 1 and 2 and 3 and 4 and so on. Or you can 

41 


practice with a “Metronome” such as is used during piano practice for the purpose of 
setting time and is adjustable. A good rate to adopt is about 60 to 65 per minute. 
Whatever rate is found to suit best must be adhered to. You will find at the rate men¬ 
tioned any number up to nine can be transmitted with absolute certainty, after an hour 
or so of practice. And this method is well worth the time and trouble it takes to per¬ 
fect it. 

Now that the principle has been explained, the next items are the signals to be trans¬ 
mitted to give the medium the cue when to start, and when to stop, counting mentally. 

COIN TEST: The performer borrows a coin the date of which is 1919. The first 
figures of the coin 1 and 9 are generally understood as most coins in use are 19 some¬ 
thing or other. If date is “18” the performer must advise the medium of this by means 
of a worded reply to the person who lent the coin, which can easily be arranged to 
suit performer’s fancy. The 1 and 9 on coin have to be transmitted. The performer 
stands away from medium, or in audience. The medium being on the stage securely 
blindfolded, performer takes his position with chalk in hand (slate can be carried into 
audience easily) in front of blackboard, holding coin in other hand. He does not 
speak a word but simply looks at coin, after a pause, the medium calls out: “The first 
figure I picture is a one,” or words to that effect, now immediately the lady stops 
speaking they both commence to count mentally at the rate agreed upon in practice. 
In this case the number to be transmitted is 9; as the last word of sentence is spoken 
they commence mentally 1-2-3-4-5-6-7-8-9. During this short period the performer 
glances down at the coin as if to verify what the lady has called ou't. As soon as they 
reach the figure “9” the signal “stop” has to be transmitted. This is done by the per¬ 
former putting down on the blackboard sharply the figure called out by the lady, viz.: 
“One.” It will be seen by this method that the signal is quite easy to transmit and it 
is perfectly natural to put down the figure on the board quickly and sharply. The 
second figure of the coin is now known to the medium, and she says the date on the 
coin is 1919, which the performer writes. 

The metal of t‘he coin must be indicated to the medium previously by the wording 
of the reply to the owner of the coin after it has been handed to the performer, which 
can easily be arranged to fancy; the value of the coin or its equivalent number in the 
same way as ,the previous figure and between the “1” and “9” that is, after the lady has 
called out the “9” they commence to count for the value, when an “0” occurs in the 
date, no pause is made, the performer putting down the figure on the board for the 
“stop” signal immediately the lady stops speaking, this if followed carefully will be 
found quite easy and natural in practice. 

Any other system that you may adopt for giving the starting and stopping signal 
can of course be applied, but the method here proposed will be found to answer the 
purpose, and cannot be detected. 

The performer states to the audience that the lady wtll now tell the value and 
number of a borrowed banknote. He also states that the lady does not see the num¬ 
bers on the note in the right order and that he will therefore make divisions on the 
blackboard for these numbers, supposing she sees a “3” (three) first she would cry out 
“I see a 3” and it belongs in the second place and.so on, till the full number has been 
called off. 












Performer also states that she will first call off the value of the note. Performer 
borrows a banknote remarking that 'he usually returns it. We will suppose he is 
handed a $5 bill numbered 00481, he takes it back to the stage and on the way there he 
looks at its value, when the lady hears that he has returned she raises her hand to her 
head as if in thought, at the moment her hand starts to move both count 1-2-5-10-20- 
50-100 and so on, at the third beat, viz.: “5” performer gives a sigh, the lady then waits 
a moment and says it is a $5 bill, while she did this performer has looked at the third 
figure of the note, as it is understood between them that she should first call out the 
third figure of the note, which in our case is “4.” 






Tt should have been mentioned before that in the banknote test the following order 
must be learned by both performers previous to the performance: 1-4-5-3-2 so that 
now the lady has got to the $5 as .mentioned above, begin to count 1-4 in second time, 
on the second beat, viz.: “4” performer will stop lady from counting any further by 
slowly writing down $5 lady knows now that the next number is “4,” she however 
waits a moment and then excla ! ims, “I see a 4 and it occupies tbe third place,” as soon 
as the word “place” is said both again begin to count, now the figure in the third place 
is to be called off next according to the pre-arranged order, this order is supposed to 
be 3d, 1st, 2d, 4th, 5th, 6th and so on, of course any other order will do as long as both 
know it beforehand. 

Now “0” is the same as “10” for the test, for when a number is not in the formula 
1-4-5-3-2 you must take the number to which when 5 is added to it makes the number 
you desire, for instance, for 7 take 2 plus 5 equal 7, for 6 take 1 plus 5 equal 6, 5 plus 5 
equal 10. 

So the third beat will be the one on which the performer will write down the “42 
just called out. So immediately the lady has said “place” both count 1-4-5—and on the 
“5” the performer will write down rather quickly in the third place a “4.” Immediately 
the “4” is put down the lady knows that the next number according to the above ar¬ 
rangement which occupies the first place must be an “0,” but she allows a second or 
two to elapse before calling it out, by this giving time to look at note for next figure, 
by putting down a previous number rapidly the lady knows that she has to add 5 to 
the number just communicated to her, which occupies the second place, and so that he 
is ready to begin counting immediately she has finished her sentence then she calls 
out: “I see an “0” and it occupies the first place,” immediately she says “place” both 
count for the “0” in second place, 1-4-5 on the 5 performer .rather quickly writes down 
“0” in the first place, after a moment or so the lady says: “I see another ‘O’ and it 
occupies the second place,” immediately on the word “place” both count for the “8,” 
1-4-5-3, on the beat for “3” the performer rather quickly, by this communicating to her 
that she has to add 5 to the transmitted number “3” writes down an “0” in the second 
place, then after a second or so the lady exclaims, “the next figure I see is an ‘8’ and it 
occupies the fourth place, at the word “place” the performer deliberately writes down 
an “8” in the fourth place and the lady calls out, “I see a 1 and it occupies the fifth 
place,” she would go on counting to herself as she would not know whether there were 
more figures or not, but the performer would next refer to the number being all right 
and she would know it was all over. Thus the number on the five-dollar bill is ‘00481.’ 

FOR BLACKBOARD WORK: The performer asks any member of the audience to 
put down upon the board 4 or 5 rows of figures, usually composed of about 5 figures 
in each row, while this is being done, the performer informs the audience that he shall 
transmit the total of the columns of the figures now being put down to the medium. 
The sum having been put down on the board say something like this: 

7234 the performer adds up first row quickly so as to arrive at first total of unit 
8679 column, this, you will see amounts to 22, he has however, only to transmit the 
3201 2 as amount to be carried is not necessary ‘to be known to the medium, he 

3795 therefore now takes chalk in his hand and says audibly to the person who has 
6423 put down the figures, “thank you” the lady who has been listening for the 

- signal as soon as the performer ceases speaking they commence the mental 

counting to the transmission of the 2, viz.: 1-2—immediately on the repetition of the 
word “2” the performer draws a second line under the column of figures on the board, 
the sharp tap of the chalk on the board at the commencement of the action of draw¬ 
ing the line indicating to the lady to cease counting and call out the figure she had 
mentioned to herself when she heard the tap on the board, which she does, saying put 
down under the unit column the figure “2,” the performer glances at the column as 


43 


7234 if to verify what the lady has called out, but in reality to allow time to trans- 

8679 mit the total of the second column, which he has added up during the time the 

3201 lady was speaking, not forgetting to add on ! “2” carried from the first column, 

3795 in this case it amounts to 23, the 3 has therefore to be 'transmitted, as soon 

6423 as the lady ceases speaking, viz.: on the word two, as above they commence 

- counting for the second column in this cast 3, they count 1-2-3-, the performer 

29332 then puts down sharply on the board “2” first 'called out by the lady, which is 

the cue to stop and (then the lady knows that the second figure is “3” and calls out ac¬ 
cordingly. You proceed in this way until all the columns have been added. This test 
is usually concluded by the performer pointing in quick succession to any figure on the 
board, which the lady calls out. This is simply an addition and is a pre-arranged order 
of certain numbers which the performer picks out as ; it were hap-hazard, but really in 
the order arranged beforehand. What we mean by pre-arranged order is to commit to 
memory a sett of figures; at the conclusion of the foregoing 'test the performer points 
to 4 then 8 'then ,2 then to 1 and so on, medium calling out figures as soon as per¬ 
former crosses it out with chalk. 

CARD TEST: Have your .cards memorized by their numbers : Ace, 2-3-4-5-6-7-8- 
9-10; Jack, 11; Queen, 12; King, 13. Ask some one to select 7 or 8 cards. To illustrate 
this method, we will suppose he selects two of ^hearts, three of diamonds, five of hearts, 
seven of clubs, eight of spades, ten of hearts, ten of clubs, Queen of Diamonds, King 
of Diamonds (nine cards in ,all), let him lay them in a row on edge of table (the edge 
furthest from you), while he does this take a look at them and notice which is the 
lowest card, convey the denomination (or value) of the card according to the follow¬ 
ing rule: Value is given by laying down the card last named. Count from the time last 
words leave lady’s lips until ,t'he time the card is laid on the table, the number counted 
to be added to the value of the card last named, and if the sum is over 13 deduct 13 
from it. l 

Suit is given by the manner of picking up the next card. Clubs, pick card up 
sharply and quickly giving it a kind of turn on table which will mark an audible 
scratch.” Diamonds, draw the card slowly over the table towards yourself before 
picking it up. Hearts, make a thump when going to pick up the card. Spades, make 
the thump as if hearts but follow it by the scratch as in clubs. The value of the first 
card cannot of course be given by laying down the last card named, nor can we count 
from the time the laslt word leaves the lady’s lips, as she has not yet said anything. 
You say “thanks” to the person who selects the card and then you both start count¬ 
ing; at the figure to be indicated make a “sigh,” thus in our example above the lowest 
card is two of hearts, say “thanks” and count 1-2 at two heave a sigh, or better still 
“breathe hard,” the hearts you indicated by picking up the card with a thump, lady 
knows the first card, she names it and as soon as the last f word leaves her lips count 
again, now the next card in value is 3 of diamonds, but we will skip this and go to the 
five of hearts, you do not count 5 but only three (the last named being 2 of hearts, 2 
plus 3 equal 5) the heart is again indicated by a thump, skip the 7 of clubs and go to 
the 8 of spades, the lady says 5 of hearts and you both count at 3, lay the card down 
with an audible rap lady adds 3 to 5 and knows that the next card is an “8,” the spade 
is given by the thump and scratch, then you can give the 10 of hearts by adding 2, then 
the Queen of Diamonds by adding 2, the King by adding 1. Now you have skipped 
the 3 of diamonds, 7 of clubs and 10 of clubs, this was done so that the audience may 
not notice that the cards are given from low to high, you coun't 3 from the King (King 
is 13 plus 3 but according to rule you deduct 13, leaving only the 3) for example if the 
last card had been a Jack and you wish to give a “2” you count 4 (Jack plus 4 equal 15 
minus 13 equal 2, after giving thej‘2” you give the 7 of clubs by counting, of course 
always indicating ithe suit by picking up the card; all the “thump,” “scratches” and 
“draws” are really natural moves as motions should not .be made unnatural by making 
them too pronounced, the practiced ear can easily tell them apart. 

To successfully present any of- the acts or tricks in this book quite a bit of re- 

44 


hearsing is necessary. For in any form of mind reading or conjuring what must be 
borne in mind is ‘that whatever is worth doing is worth doing well. 

A LATER DAY MIRACLE 

A Mind Reading Test That in the Hands of a Clever Entertainer Will Be Most Effective 

The performer, after a number of tests have been successfully carried out, and to 
bring all to a brilliant finale introduces this test. 

The assistance of some gentleman in the audience is requested. Performer says, “I 
have loaned a gentleman, now I will request the loan of several newspapers.” 

The gentleman steps into the aisle to lend his assistance. 

An attendant collects the newspapers loaned by members of the audience and hands 
them to the performer, who in turn hands them to the gentleman instructing him to 
pick one of them at random. Gentleman selects one and is instructed to pick out a 
page, a news item, and a certain line for medium to read. This is freely selected by 
the spectator who shows them ito several persons seated nearby and then shown to 
the performer. Paper is now closed and folded and held by either the party assisting 
or handed, for safe keeping, to another member of the. audience. 

Music starts playing softly and continues throughout test unless given a direct 
cue to stop, by performer. 

Performer explains to audience 'he will endeavor to place the lady under control 
and asks that the audience kindly remain as quieft as possible. Furthermore he asks 
the man who made selections in paper and the spectators who have seen what he se¬ 
lected to steadily concentrate on them. 

The medium, seated on stage blindfolded, is placed under hypnotic control by aid 
of hypnotic passes made by performer, Who walks down aisle, but doesn’t go onto 
stage. Performer stops music \yithcue: “Thank you.” 

Now for some acting. The medium falls under the performer’s control. Performer, 
turning to gentleman who assists him, and instructs him to request the lady to give 
the test. Gentleman says, “Kindly tell us what we have selected.” 

Madame suddenly begins to speak, “You have put me to a test—a rather difficult 
one. I shall do the J^est I can. Be lenient with me should impressions I get happen 
to be wrong. I see a newspaper. It is a (localize) paper. I see letters on the top 
of the first page (spells out name of sheet, then names it). 

During this part of tesit the performer continues to make passes in medium’s 
direction. 

The madarae continues in a dreamy, uncertain way: “I begin 'to get a faint im¬ 
pression of numbers (or .number, whichever it may be). I see a 2 and a 1. (Say page 
selected was page 12). Now they are becoming more distinct. They reverse their 
positions. I‘t is number twelve—to be exact it is the number of a page in the news¬ 
paper.” Performer, “Right!” 

“Now I see a headline which reads (medium reads newspaper headline) and this 
appears to be in the third column.” Performer, “Right!” 

“The line selected reads (she reads the selected line) and it is the 6th (or whatever 
line it is) line of the item.” Performer says to gentleman, “Is that right, sir.” The 
gentleman as well as those who have seen the selected page; item and line affirm this. 

The performer’s assistant returns the newspapers that have been loaned, as the 
curtain descends to a big “hand” or maybe to a very still audience who are too bewil¬ 
dered to applaud. 

The modus operandi of this Later Day Miracle is simplicity itself. But like in the 
other acts and tests given in this book the performer MUST be a clever showman. 

The gentleman who is so obliging in the audience is an assistant. When a uni¬ 
formed assistant collects newspapers offered by spectators, he carries a few as if he 
has collected them and among these is one which the performer, the medium and the 


45 




‘obliging gentleman’ have picked out to use for this test. This is the paper, of course, 
selected by the gentleman. 

Further explanation is unnecessary. This 'test baffles any audience but must be 
worked up to a big dramatic climax. 

Another method of working this experiment without the “plant” in audience is by 
employing a silent or verbal code. In (this method the n*ame of paper, page, news item 
and line is 'the form followed. The medium does not know the name, or anything else 
and anybody’s paper can be borrowed, until it is, in order as set down here, transmitted 
to her, either by a silent code or by the wording of instructions given by performer 
to members of audience assisting in the test. 

MIND READING FOR CLUB ENTERTAINERS 

The following ac't was arranged by me for a professional friend who retired from 
the stage and is engaged in society and club entertaining. Recently I “framed” and 
staged another act for 'him and I will give this act which will prove interesting to 
club and society entertainers. 

With'the dramatic presentation this act can also be used for the professional stage. 
The patter can be used in the Vaudeville Mind Reading act, given elsewhere in this 
work, in whidh the crystal gazing feature is used. 

Performer enters and in a partly serious and partly humorous manner explains 
what is the accepted meaning of Psychic Phenomena. This opening spiel is to the 
point. He also explains to the audience that 'he lays no claim to supernatural agencies 
aiding him in his entertainment which he will present for their approval. 

An assistant goes among the audience passing small cards or pads and pencils to 
the members of the audience upon which, (performer tells them this as this is going 
on, t'ha't they may wrhe any questions they care to providing they be sensible ones. 
Assistant leaves a numbered card with each writer of a question after their query has 
been sealed in an envelope and the number of the card is written on the outside of the 
envelope so that the questions can be identified in this way. 

The performer, on stage or platform, goes on to enlighten audience on Mysticism 
and Occultism. He tells of the wonderful powers some folks have of whait is known 
as “prescience.” 

“I lay no claim to any such mysterious powers,” continues the entertainer, “for if 
I did I could tell you what all were thinking about, but I’m a peaceful fellow who 
always avoided arguments—Yes, I am still single!” 

He then grows serious and tells them that usually Mental Telepathists have a 
medium but he while travelling in the Orient some years ago met a man who was a 
wonderful seer and could read one’s past, present and fu'ture in the Crystal Ball or as 
the Seer called ,it, “The Sphere of Hidden Mysteries.” By one studying the Art of 
Crysltal Gazing and becoming attuned to occult waves one can become proficient in 
giving answers to queries by reading those answers in that wonder working crystal 
ball and 'this evening it will be his pleasure, with the indulgence of the audience 
to offer them what will seem to be actual demonstrations of thought reading and he 
will endeavor to answer their written questions as thoroughly as possible—answering 
as many queries as time will permit. 

During the above line of chatter which is necessary to kill ( time while members of 
audience are wri'ting queries and assistants are collecting them after having each 
ques'tioner seal his own question in an envelope and place them in a bag, on a tray or in 
a basket passed by assistant. 

Questions are now carried up on the stage and dumped into a glass receptacle 
which remains in full view of spectators throughout the act and performer never 
goes within four feet of same. 

Performer now directs his assistants to bring “The Sphere of Hidden Mysteries.” 


46 





Orchestra takes up a wierd oriental fantasy and assistant brings on the crystal 
globe which lays on a small oriental pillow, together with a large oriental designed 
foulard Which is used to wipe crystal so all signs may ibe clear. 

Performer now becomes very serious. He informs audience that “Shadows are en¬ 
tering the crystal. (He gazes intently into same.) Now as I penetrate into its depths 
I see the shadows fade and turn into clouds—clouds everywhere. Now gradually they 
move toward the right which signify that spiritual beings are present and interested 
in the experiments. Yes—I believe my efforts this evening will be successful. They 
will be a success, for I see ascending clouds which mean that the powers will co¬ 
operate wi'th us. I am beginning to get an impression. (Music 'continues softly 
throughout until “direct cue” is given by performer for .music to stop. During the dra¬ 
matic reading of the final one or two questions, by a pre-arranged cue, music should 
start again playing some kind of an oriental, dreamy waltz.) 

“I get the impression of a letter—it is very dim—now clearer—it is not a letter blit 
a number. I see the number seven. When I call various numbers will the holders of 
those numbers kindly raise their hands? Thank you. 

“I see the number seven. The .question is—(and in this way, wi'th proper ,dramatic 
presentation, a number of questions are read and answered.) 

With some questions the answers are given before the questions are read after 
numbers are first called. Numbers are called so that writers in audience can be easily 
identified. If performer wishes he can have questions signed with full names of the 
writers or their initials and in this .way can dispense with using the numbers. 

After eight or ten questions are answered performer can then start speaking 
dreamily as if his powers have been subjected to a severe strain (?)—“More clouds 
gather—they turn into shadows—the shadows are moving slowly toward my left—de¬ 
noting that for this time the seance is at an end—and nothing more can be answered.” 

Performer bows himself off amid (if he is a convincing actor and has given appro¬ 
priate answers to the questions) tumultuous, sincere applause. 

Now back to earth! 

The stage or platform floor is bare and there are no electrical means or apparatus 
employed. You, dear reader, have perhaps already guessed the modus operandi. 

Here’s how ’tis done:—The pads or small cards passed out upon which the various 
queries are wri'tten by members of the audience are not doctored. The envelopes 
are all right too. Assistants pass out cards to identify writers of questions. This is 
to kill more time and add to the effect, yet in a way this helps performer to identify 
writer should the spectator refrain from raising 'his hand w ; hen number is called—yet 
it will not affect the act although folks in an audience want to know if the person really 
did write that question. 

It is a good idea to .have the performer’s advertisement printed on the numbered 
cards distributed and spectators can take the cards home with them. 

Now for the big secret! Shi! The performer has another assistant concealed 
back stage. 

Questions are collected in a changing bag .or basket, so the faked sealed messages 
which are already in the bag, are the ones really placed in bowl on stage, where they 
remain throughout the performance. On the .other hand the performer can do away 
with using changing bag or basket if hall is big enough, and have the assistant switch 
another bag, identical with one questions are collected in, containing dummy envelopes 
—bag containing real questions are switched a't back of theatre or hall and slipped 
to someone who carries them back stage while in bag containing dummies several more 
questions are collected by assistant for effect while he is on his way down to stage. 

Assistant back of scenes when he gets real questions writes them in small writing 
on contrivance which snugly fits into bottom opening of crystal ball which is nothing 
more than a small round (looking like a ball when held by performer) glass bowl 
(not unlike a small size gold fish globe) which can be—now the mystery is all gone— 


47 


In of 


purchased in any stationery store—at a trifling cost. The container I had, which at 
three feet distance looked like a genuine crystal ball—friends of mine who have exam¬ 
ined my crystal gazing ball and seeing the two at a little distance couldn’t tell oneTrom 
the other—was originally before elevated into the occult(?) art a glass container 
in which reposed a sponge which when moistened was supposed to be used to dampen 
fingers when counting money—but as I never had enough to count, I transformed 
mine into a crystal ball. At the bottom I had a small arrangement on two rollers to 
which was attached thumb screw arrangements and a small roll of thin paper. When 
questions are written in small handwriting this paper arrangement is rolled up and 
fitted into small stand and whenever I wished to get another message to work on I 
wiped the crystal with the foulard—in reality turned one of the thumbscrews which 
operated the roller and rolled the question away and brought another duly numbered 
question into view. Marvelous, what? 

Your concealed assistant should ignore any “fool” or “catch” questions. 

After performance assistant gets rid of faked questions. 

In the hands of a good s'howman and a performer with acting ability this act goes 
over with a crash, sets ’em all talking and brings return engagements everywhere. 
Never condemn an act until you have tried it before an audience. They are the best 
judges. Some of the simplest mind reading and conjuring stunts, as every professional 
knows, prove to be the most bewildering when presented in the proper manner before 
an audience. 




THE CHESS KNIGHTS TOUR 

To present this experiment you have a blackboard ruled off into sixty-four 
squares representing a chess board. Each square is numbered from one to sixty-four. 
When your medium, who sits blindfolded, gives you the number you draw a straight 
chalk line from number first called to number called directly after. The Knight stopy 
only once on each one of the sixty-four squares. Following will be found 
several starting points with figures you must memorize. When familiar with the idea 
you can start at any number called out by some member of the audience. 

“We will now introduce what is known as the chess knights tour; for the benefit 
of those who are not chess players let me say that the knight is the little figure with 
the horse’s head and it has the most peculiar moves of any figure used in any game 
of that class; it can go around the corner. The knight moves by starting from the 
field upon which he stands and going two fields or squares straight in any direction 
and then turning the corner and going one more field in some other direction. To il¬ 
lustrate (go to your blackboard and point it out) if standing on say field 20 he could 
get to 35 (show it) to 37, (show it) to 30, to 14, to 5, to 3, to 10, or to 26, a choice of 
eight fields, providing he stood on a centre field. Now on account of this almost incal¬ 
culable move it has puzzled mathematicians for nearly 2000 years (chess is an old 
game) to know if that knight could be started here (point to it) on field No. 1 and 
could be successfully led from field to field and yet never resting twice on the same 
field. After centuries of calculations this has been solved by a Frenchman and we will 
make it just 64 times as difficult by not commencing on No. 1, as societies always do, 
but on any field you may designate. Common sense will tell you that the knight’« trip 
must differ in each and every case according to his starting point and we propose to 
make it a great deal more difficult by having the moves calculated out by our medium, 
who you are well aware is totally blindfolded.” A number being called out by one of 
the audience you mark it out, the lady calls off the numbers and you connect the lines 
and mark out the field; at the conclusion your blackboard will show lines running 
over it, stopping on each square, but not touching any square twice. 

EXPLANATION. The secret lies in this, that you return to your starting point, if 
you learn the following: (1) 18 33 50 60 54 64 47 32 15 5 20 3 9 26 41 58 52 62 56 39 
24 7 22 37 43 28 13 30 45 35 29 46 36 21 38 44 27 42 57 51 61 55 40 23 8 14 4 10 25 19 34 49 
59 53 63 48 31 16 6 12 2 17 11 (1). 


48 





\ ou see it begins and ends with or at ONE, this rotation is all you need learn, 
suppose your audience gives 2 as a starting point, you say: 12 2 17 11 1 18 33 50 60 and 
so on, finishing with 16 6. 

ANOTHER METHOD. Should the starting number called by some spectator be 
say No. 1, your moves would be as follows: 1 11 17 2 12 6 16 31 48 63 53 59 49 34 19 25 10 
4 14 8 23 40 55 61 51 57 42 27 44 38 21 36 46 29 35 45 30 13 28 43 37 22 7 24 39 56 62 52 58 41 
26 9 3 20 5 15 32 47 64 54 60 50 33 18 L 

It doesn’t make any difference where they call for the knight to start. If starting 
number should be 43 your chalk smarts from that number and shoots up to 18, from 
there to 1 and on you go to 11 17 2 12 and so on continuing until you again reach the 
numbered square which was selected by spectator. 

MENTOLOGY 

Another mind reading effect created by Bob Sherman and which is sure to find 
favor with club entertainers who have long sought a method by w^hich they can name 
every card in a deck of playing sards, in the same rotation as they are selected, with¬ 
out studying mnemonics and without the use of a silent or speaking code. 

The 'blind are taught to read by raised letters, feeling out the various letters as 
they go along. This suggested Mentology. 

APPARATUS:—Fifty-three small fiberboard or metal disks about an inch and a 
quarter by an inch and a half in size, and a metal container to hold them. A blank 
disk represents the joker. The disks are nicked and punched in various places so the 
performer can distinguish them by feeling wi'th his fingertops, in this manner telling 
what card and suit that particular disk represents. 

The original model, which lies before me, as I write, has disks marked with what 
is known as a clock system. Each disk on its left hand top has that corner cut off to 
enable the operator to get disk from metal holder right side up so it will be an easy 
matter for him to feel the punched and nicked marks indicating name of card and suit 
each represents. 

The clock system, in this case, consists of a series of nicks, one made in ono-oP 
the four sides, of each disk (see drawing A). The suit is distinguished by a patched 
hole in part of disk indicating suit. Picture cards are punched (diamond shape) as in 
drawing. Drawings will make system clear. The names of the different cards can be 
written or stamped on the disks in this way making it easier for the assistant to pick 
them out. The metal container is just large enough to accommodate the fifty-three 
disks, with bottom arrangement made in such a way that disks can be easily slid out 
with fingers, into the hand of the performer. Container has two sharp pin points on 
one side near the top so it can be hung onto the performer’s trousers, in back near 
waistline, under coat. The disks can be made about half an inch by one inch. A 
larger size disk and container was used in making experiments. 

METHOD OF WORKING:—Assistant is seated in a room next to that in which 
performer is. He can take up his position behind a screen if another room is not near. 
Before him, on a table, are the disks laid out in different suits and cards n rotation, 
from ace to king. For example: first row contains from ace to king of hearts; 2nd 
row: from ace 'to king of spades; 3rd row: from ace to king of diamonds; 4th row: 
from ace to king of clubs. Joker laid aside to be used if called for. 

Entertainer tells audience story about wonderful memory feats, etc., and requests 
someone to break the seal of the pack of cards he hands out and that someone should 
shuffle the pack. This is done. He 'then tells a spectator to take the deck and select 
a card. Instructs spectator to name the card he selects. This is done. Performer 
explains each one should do this (name card) as they take it from pack, as they must 
be repeated by the entertainer so he can store that name away in the vaults of his 
memory. This selecting and naming card is coninued until all the cards in deck are 

taken. 


49 


(A) 

Nicks on edges 
of disks to tell 
number of pips 
on a card. Each 

disk has one 
nick. 


DEMOTES 

Top 

Si t en n< he 


ACE 


THREE 



TOUR five 


TOR 


HEARTS 





(B) 

Punched circular 
holes indisKto 
Show suit of cards. 
Joker is repre¬ 
sented. by a blank 
disk. 


(O 

Top y 

Punched diamond 

Shape indicates 

QUEEN 

name of picture 

KlNCr 

Card. 



JACK 


Top 



SPADE 


(D) 

DisK indicating 
the Three of 
Spades. 


(E) 

DisK Showing 
the King of 
Hearts. 



50 


























When the name of card is called, by member of the audience, performer slowly, as 
if to get a clear impression of it, repeats the name of card. This is one in a mysterious 
manner to both impress 'the spectators and to “stair for time to enable the assistant 
to hear the name of card and to pick out the disk corresponding and place it into the 
container. When all the cards are called t'he assistant naturally has all the disks 
s'tacked up in the holder, ready for the performer. 

Performer in any way suits him best secures the loaded holder from the assistant 
and hooks it onto his person. Standing with hands behind him, in a trancelike man¬ 
ner, acting as if it were a severe mental strain, calls out the names of 'the verious cards 
in rotation they were selected. As the cards are called the spectators should affirm 
whether or not the card called by entertainer is correct; which, of course, it will be if 
assistant is wide awake. This is continued until all cards are called. This is a simple 
method and does away with studying. Of course performer must know what each and 
every mark on the disks stand for. The entertainer should get rid of the disks in his 
hand by dropping them into his pocket at an early moment. 

Mentology can be presented with good effect in either drawing room or club. 

VOICE CULTURE 

This chapter is devoted to Voice Training and Cultivation. Seldom, if ever, is 
this sort of material found in books of this kind, but it is more valuable than you 
imagine, and should be read thoroughly and not passed by or skimmed over. There 
is a crying need for some advice and enlightenment on Voice Training for Mind 
Readers and Magicians. If the wielders of the magic wand and the performers who 
transmit messages to their mediums would only stop to think they will readily, after 
reading this chapter, appreciate the author’s idea in writing this chapter. The pro¬ 
fessional and many amateurs know wha l t it means to possess a good, clear voice. In 
every department of entertaining, except performers who are doing what is known 
in the profession as “dumb acts” (in which the performers do not speak throughout 
their specialty) should, and most have, given some thought and practice to bettering 
their speaking voice. The ama'teur should digest this material, as is it not the amateur 
of today who is the professional of tomorrow? 

Many Mind Reading acts we have seen would mystify and entertain audiences a 
hundred per cent more if the voices of the participants in the act were more refined 
and were these artists able to use their voices in a more impressive manner. 

One or more Telepathic acts we can recall fall practically flat, due to the medium’s 
screechy, coarse, untrained voice. A raucous voice tends to detract attention from the 
act and grates on the ears of the audience. 

A vaudeville mind reader should cultivate a pleasing speaking voice and should 
take pains that his “medium” also studies voice placing and modulation before making 
public appearances. 

This chapter, we know, will prove beneficial to all who are, or someday hope to be¬ 
come, professional entertainers. 

We know that personality plays a prominent part in any sort of entertaining. 
Let us hope the reader has an abundance of personality. 

Next in importance in entertaining is the speaking voice. Folks we meet in our 
everyday life possess voices that are disagreeable and strident. If the performer has 
this type of voice he should take pains to cultivate and train his voice. A voice that 
is musical and well modulated will be a great help to the medium and the performer, 
in the audience, will make a better impression if his speaking tones are agreeable and 
attention arresting. 

Too much physical effort is made by most folks in speaking. The muscles of the 
mouth are tightened instead of liberating these muscles and allowing the voice to is¬ 
sue forth in a natural and harmonious manner. Vocal tension can be remedied by 
relaxing, by daily practice, all muscles used in speech. 

51 


First, bear in mind that one should speak through the throat and not from it. 
The musical quality of the voice depends upon directing the tone towards the hard 
palate, or the arch above the upper teeth. Yawning is good exercise for throat re¬ 
laxation. By this I don’t mean that one must wait for a real yawn, but to imitate a 
yawn now and then, which, though it may seem foolish, will do good. Practice it and 
see. 

Quietness in speech, with voice registered in a low, clear tone, counts. Avoid em¬ 
phasis, when speaking. 

An act, we recall, in which the performer in the audience sang out in a cracked 
voice to the medium, “What does this lady’s message say?” to which the Madame 
shrieked at the top of her lungs, with the rapidity of a gattling gun (which sounded 
this way to the audience) “De loidy wants ter know when her son’s coming home. 
Yes, loidy, ver son will be home in a few weeks now. Dat’s the impreshin I git.” 

The medium got that impression and the audience 'got the impression that the 
medium was uneducated and anything but refined. This helped the act to “flop.” The 
truth is that the medium is highly educated, but has no voice training at all and could 
she but hear herself as others heard her, she would practice voice culture until she 
perfected herself. 

Avoid nasality (speaking through the nose). You can overcome this as well as 
nearly all other defects of the voice by continual practice. The most desired tones 
of voice are the middle and lower keys. Avoid high-keyed pitch which jars the nerves 
and grates on the ear. 

A well-known authority of voice culture, in speaking, says, “A good voice should 
possess the qualities of purity, resonance, flexibility, roundness, brilliancy and adequate 
power.” These powers can be rapidly developed by reading aloud for fifteen minutes 
a day, giving special attention to one quality at a time. 

Correct pronunciation and distinct articulation indicate cultivated speech and is 
to be desired by all professional people. 

When speaking, open the mouth wide, not in a comedy fashion, avoiding the all 
too common fault of speaking with teeth partly closed. This keeping the lips nearly 
fully closed is all rilght for the Ventriloquial Entertainer, as is fully explained in my 
book, “Vaudeville Ventriloquism,” but there is a vast difference between the Ventrilo¬ 
quist’s and the Mind Reader’s work. 

Rapidness in the speech of the “medium” ofttimes makes “madame” misunderstood 
by those at the back of the theatre as the tones are indistinct and muffled. It is not 
necessary for the “medium” to give her answers “a mile a minute.” Starting the an¬ 
swers quickly is necessary by speak distinctly so all can hear you, and as soon as the 
“Madame” starts talking the audience know she is going to answer their questions, and 
are waiting expectantly. 

To develop deep tones practice for a few minutes daily the vowel sound “O.” 
Try to make it sound deep, full and aim for melodiousness. 

Strange as it may seem folks do not know how to breathe correctly. Standard 
works on elocution will give you breathing exercises which should be practiced. 

The speaking voice is capable of most wonderful development. Always pronounce 
your words, both on and off the stage, distinctly avoiding the sort of delivery many 
people are addicted to, ... a manner of speaking as if you were wonderful and 
you’ll admit it . . . being “poisy and affected” in talking. 

Favor the low pitches of the voice. Cultivate the music of conversational tones. 
Vary your voice to suit the variety of your thought. A well-modulated voice de¬ 
mands appropriate changes of pitch, force and feeling. 

Care should be taken of the throat as the delicate machinery of the vocal appara¬ 
tus renders it peculiarly susceptible to misuse and exposure. 

When the performer is at the back of the theatre and he uses a verbal code he 
should avoid shouting to the stage. Remember the essential thing is a clear, dis¬ 
tinct articulation and this is impossible to attain when shouting. 




A gargle that is favored by many actors is that of warm water and salt. A 
solution of peroxide and water is also good. A throat gargle I have used for some 
years, whenever my throat becomes hoarse or irritated is one-half a tablespoonful 
of each of the following ingredients: Borax, Baking Soda and Salt . . . equal parts 
mixed dry then put into a tumbler two-thirds filled with lukewarm water; gargle 
morninlg and night. I have always found this gargle effective. 

Avoid, when the “medium” slips up on a question, shouting at her. This is bad 
form and frowned on by many in the audience besides she is only human and not 
infallible. 

A word will not be amiss here as to what is a curse to many artistes . . . 
Artistic Temperament. Learn to control yourself. Self-Control is a valuable asset. 
Don’t be a “temperamental ass.” Forget YOU think you are good. Let the audience 
do the thinking as they will whether you like it or not . . . and they are the 
best judges, . . . even if your agent thinks he is. We (in the profession) have all 
met many so-called theatrical agents who were, are and always will be “shoemakers” 
. . . but that’s another story. 

Act and speak in a refined manner at all times, either when on the stage, in the 
audience or on the street and you will be respected in general and it will aid you in 
your work as a MYSTIFIER. 


CONCLUSION 

The power of thought,—the magic of the mind! 

Wonderful but let us have less of the performer who reels off ten words to 
send a message to the medium consisting of three words. 

That is why entertainers using a verbal code are fast vanishing from our vaude¬ 
ville stage. 

In every audience at least two-thirds know that whatever the performer says 
means something to the medium. Many of these acts which have appeared are 
crude. Instead of polishing up their acts and then floating out into the rocky 
sea of vaudeville they study a code and away they go in an endeavor to snatch the 
laurels away from someone who has devoted years of study to perfecting a speaking 
code that is mystifying. 

There are several acts today that still manage to squeeze out a living with their, 
“What is this, Madame?” and “Describe that which I hold in my hand.” 

I have seen but one act, in recent years, who employ a speaking code and who 
registered, what could be classified as, a hit. And this couple deserved it because 
they are artistes in their work and present their act in a manner that is exceedingly 
puzzling to even some of the best informed on matters telepathic. 

There are ways of using a verbal code that seldom fails to go over, as these 
artistes prove, but it requires grey-matter, long practice and tons of perseverance 
to achieve success. 

Brains, willingness to work hard and a ground principle of how verbal codes 
are “framed” is all that a performer requires if he wishes to put together and work 
a mind reading specialty of this sort. 

Some years ago Muscle Reading was in vogue and several clever showmen 
startled the world with their performances. Extraordinary powers they possessed, 
so they claimed, and their work was known as Mind Reading. In truth the method 
they used was nothing more or less than the art of receiving cues, from a committee¬ 
man, appointed by an audience, by means of various unconscious muscular action 
upon their part leading the spectators to believe that this so-called phenomena (really 
what later became known as muscle reading) was the result of genuine mental com¬ 
munication. Learned men, professors of universities “fell” for this sort of bunkum 
and the operators or performers reaped a harvest of golden coin. 

The following article sent me sometime ago by my friend the late W. D. Leroy 
covers the field of muscle reading. 


53 



The Mind Reader leaves the roam, and during his absence any person in the 
room may secrete any article anywhere, provided it is not placed higher than the 
performer’s head. The Mind Reader, by taking her hand, will lead her directly to 
the article. The performance can be varied as, A can give it to B, B to C, and C 
hides it. So reader leads A to B, then to C and C to the article. Second Lady or 
Gent can think of a person present, and Reader will lead them to the individual. 
Third can tell year, month, day and hour subject was born, providing subject knows 
himself. Fourth can spell the full name of any entire stranger, or father, mother, 
etc. Fifth can locate pain. Sixth give number thought of. Seventh give names of 
chemicals or minerals unknown to him. EXPLANATION: Before attempting the 
performance the ONLY 'but essential condition should be unmistakably impressed 
upon those who are to take part, that one CONDITION is simply this. The person 
to be led to the secreted article must concentrate his mind upon the place where the 
article is hidden until that place has been reached by reader and himself, then upon 
the article itself. This mental concentration should be required as constant as pos¬ 
sible to the end, if the reader fails, from the very nature of the work, the fault 
lies with subject, for he must succeed if the subject fairly complies with this one 
condition. However, there occasionally may be found an individual who is incapable 
of prolonged, or even short mental concentration of thought, through great trouble, 
ill health, etc.; such subjects should be avoided, if possible, as success with them is 
exceedingly improbable, if not altogether impossible. It follows then that the best 
minds available should always be chosen. The “Reader” has then nothing to do, but 
to establish physical contact between himself and his subject, when he will find him¬ 
self led unconsciously to the proper places. Almost any physical will be sufficient, 
although the method of placing the back of subjects hand to your forehead is prob¬ 
ably the best, because the most impressive. When you have the back of your subject’s 
hand to your forehead, start a swaying motion up and down with it, and around the 
room, or stage, in the direction. When you find it raises for the subject and yourself 
to move, go, and you will be led to the place. If you lead him in another direction 
than the one he is thinking of, you will find more resistance to move him or his 
hand. To be blindfolded is not essential, although helpful, in that it presents the 
appearance of rendering the work of the Mind Reader more difficult, but which 
really assists of becoming more to the leadings of the subject, as it shuts out from 
his mind all exterior detractions. The muscle of any and every person has always 
an inclination more or less strong in the direction of thoughts of his mind, more 
especially so if the body is in motion. For instance, if you think of an object on 
your right, accompanying that thought will be a slight motion of body in the same 
direction and over will go the body accordingly. This natural law of inter-dependence 
between mind and matter, or habit of harmony of action between body and brain 
of man or beast is the secret of the whole matter. Then it follows, that all the (so- 
called) Mind Reader has to do, is simply to observe carefully the action of the 
muscles of his subject’s hand against his forehead, and follow in the direction indi¬ 
cated by subject’s muscles, and he will find himself led unmistakably toward the place 
on which his subject’s mind is concentrated. Having reached the place, he feels 
around with one hand until the secreted article is found. As soon as his hand touches 
it, although he has no previous knowledge of its nature, he will recognize it instantly, 
or instinctively, for the subject has, all unconsciously imparted such information, by 
the relaxing of his muscles, as mind, unlike matter, is indivisible, or in other words, 
it is impossible for a iperson’s mind to be in two places at the same time. It is 
plainly to be seen that if the subject honestly concentrated his mind upon the hidden 
article, he cannot discover the fact that he is leading the Reader (so called) instead 
of himself being led. It is apparent that from the foregoing explanation, instead of 
the Reader being the operator, and leading the subject as is generally supposed, he 
is himself led by the subject, hence in reality the reverse of the general impression 


54 




is true, and the mind reader is the subject, and the subject is the operator. For 
spelling out names, numbers, etc., have a row of large figures or letters, and by moving 
over them, you can tell -what names, letter, figure or sum he is thinking of. 

The so-called mind readers, of the past who employed muscle reading in their 
performance^ were thought, by many who have witnessed their feats and tests, to 
have been enveloped not only in shrouds of mystic and occult powers but to have 
been cloaked in a mantle of strange powers which enabled them to absorb thought 
waves which emanated from the brain of their subjects! 

Then again we had no systems and means in those “palmy days” of Mind Reading 
of transmitting messages, signals and the like as we have at the present time. These 
means, employing in many instances, electricity and devised by later day mental 
telepathists. 

Today we have many systems that completely revolutionize methods of a yester¬ 
day. Acts today may use electrical means in which the carpets in the theatre aisles 
are bound with strips of copper, and the performer’s body “wired” so that in different 
ways, too lengthy to explain here, completing a circuit when the professor stands in 
certain places. In this particular method both the performer and medium are expert 
telegraphers and whatever is ticked out on the sender which is in the performer’s 
pocket the Madame on the stage “gets.” Methods have also been devised employing 
a sort of vest transmitter into which, no matter how low the spectator speaks, the 
lady on the stage hears it. 

My friend Dermotti, the well known illusionist, is at present experimenting on 
a new form of electrical mind reading and if it turns out to be a success he will no 
doubt either use it himself in vaudeville or place it on the market. If his idea is prac¬ 
tical, and we believe it is, it will create a sensation in the world of telepathists. 

Silent Thought Transmission acts always win favor with and mystify present day 
audiences. It stands to reason that some performers are more clever than others 
and some methods employed are by far superior to those employed by other enter¬ 
tainers but if the performer is an artiste in his line and a clever showman, and bear 
in mind that showmanship is two-thirds of all entertaining; he is sure to present 
an entertainment of the required running time of act in a manner that will bewilder 
and baffle a present day vaudeville audience. 

SUPPLEMENT 

From time to time many requests have reached me asking that I suggest a full 
two hour entertainment suitable for entertainers who wish to carry only a limited 
amount of paraphernalia. The following entertainment, I trust, will answer this 
purpose. 

GAMBOLS OF THE GHOSTS 

A Two Hour Entertainment Introducing Demonstrations in Mysticism, Mental Tele¬ 
pathy Occultism and Kindred Weird and Startling Phenomena 
Arranged by David J. Lustig (La Vellma) 

Orchestra plays an Oriental number. When half through music dies down but 
continues playing softly. A gong, off stage, is struck twelve times. On eighth 
stroke curtain slowly rises. Blue or amber flood on stage until performer enters, 
music grows “FF” and lights are turned on full, doing away with amber or blue flood. 

The stage is set in “full” using, if possible, special velvet drop. If special sets 
and drops are not used house stuff can be used. For house scenery use interior back 
drop with appropriate “wings” for full .stage and a garden drop hung in “one” will 
do for portion of entertainment done in “one.” If performer so desires he can use 
interior “box set” for full stage acts. Only one act in following entertainment is 
done in “one.” 


55 


ACT ONE 

Performer, after making his entrance, opens his performance with a brief speech 
something like this :— 

Ladies and Gentlemen: It is a known fact that millions of persons, through¬ 
out the world, believe in spirits, phantoms and the Shadow World. 

This evening I shall endeavor to entertain and (perhaps mystify you in 
presenting demonstrations of so-called Psychic Phenomena usually claimed 
to be accomplished by supernatural means. In my case I lay no claim to super¬ 
natural aids and whether or not you believe in Mysticism, Occultism, Psychic 
Phenomena or of mentalities attuned and psychology synchronized. ... I 
trust you will, at least, be entertained. I thank you. 

During above introductory speech the music stops and on “Thank you" (cue) 
music takes up another oriental strain. 

Performer starts off the performance by causing a table, which is brought on 
the stage by an assistant, to be levitated by performer’s fingertips. Table is caused 
to tilt this way and that and finally remains suspended in midair by (?) hypnotic 
passes made by performer. Table is finally commanded to return, without physical 
aid, to floor. 

Next Performer introduces his favorite slate writing test. One I always enjoy 
is that in which after slates are cleaned they are tied together and held by some 
member of the audience. A pack of cards is handed out, shuffled by a spectator and 
performer has two persons each select a card. Cards are now replaced in deck and 
pack thoroughly shuffled. Slates are untied and we find the spirits, hovering near, 
have written the names of the selected cards on one of the slates. 

A beautifully carved hand, which the performer tells in all seriousness is an exact 
replica of the hand of Madame Caglistro unearthed in a tomb (anywhere the per¬ 
former’s fancy dictates) and some unknown power is said to be invested in the hand. 
At and rate . . . this wonderful hand raps out answers to various questions put to 
it by different members of the audience. The hand also has a mysteriods faculty of 
rapping out the names of selected cards, etc. 

The modus operandi of these three experiments, which are really conjurers’ tricks 
yet may be introduced as spiritualistic effects, are known to all Wielders of the Magi’s 
Wand and need no explanation here. 

The first act is brought to a close by a sort of illusion called, “A Ghostly Gambol,’’ 
in which a ghost (?) very much alive vanishes into thin air while entirely surrounded 
by members of the audience selected to act as a committee. No traps are used and 
the only apparatus employed in this startling (if properly presented) illusion are 
a number of three-fold screens. The Ghost (?) is attired in a white shrowd and 
takes his place in the center of the stage. Two three-fold screens are placed around 
him hidding him from view. Screens are placed on both sides of the stage, as well 
as at the back, while committee stand around and watch the proceedings very care¬ 
fully. One of the outside screens surrounding the Ghost (?) is opened to allow 
performer to pass into boxlike arrangement, made by screens, and stand with spectral 
visitor. Committee is invited to form a chain around the two screens which cover 
performer and Ghost (?). All chances of escaping is cut off yet suddenly the per¬ 
former cries, “Break chain in front!’’ Committee in front of screen break away and 
screen falls to ground; Ghost (?) has vanished and the performer stands alone. It’s 
a simple yet very effective illusion. You must have a double of one of the attendants 
who places the screens. One of these doubles, attired like the rest of your attendants, 
is disguised as a ghost. The other double is dressed (without the shroud, which by 
the way covers the entire body) in assistant’s uniform and with another assistant are 
on the stage ready to move the screens at the command of the performer. As soon as 
the two centre screens are closed the Ghost (?) removes the shroud, puts it under 
his outer .coat and watches for his chance to escape. While the outer screens are 


56 



being placed in position no one notices the assistant walking openly off the stage. 
This is the double of the man playing the Ghost. When the outer wall is formed, the 
Ghost, now in assistant’s uniform, walks openly out of both enclosures and stands on 
stage awaiting finish of illusion. The committee are formed around and back of outer 
screens. Wonderful, what? 

The dematerialization of the ghost brinlgs down the curtain on act one. 

Specialty:—Drop hung in “one.” Assistant brings on a small “prop” table and 
retires. Performer enters and gives a demonstration of what is known to spirit 

mediums as Sealed Message Reading or does the well known effect, The LaVellma 

Spirit Message. Full explanations follow. Sealed Message Reading:—No assistants 
are required. Have a number of slips of cardboard on your table which the assistant 
has carried on. Pass these around to spectators. Or have an assistant do this for you. 
You have “palmed” a message sealed in an envelope you have before your entrance 

prepared with this written on it:—“Is my sweetheart true to me?” This prepared 

envelope lies on the table and when others are collected and placed on table place 
them on top of your prepared one. Pick up the top envelope and read (?) the ques¬ 
tion inside. You will really read the question you have prepared beforehand. Ask 
the writer to identify it but of course this is but byeplay as you wrote it there is 
no one to claim it and as the audience will laugh at a question of that type they will 
naturally think the one who wrote it doesn’t want to appear ridiculous so won’t 
claim it. While you are apparently waiting for someone to claim the question you 
tear it open as if to see if you are right. In this way you get the next question (in 
reality the first one). Say that question was “What is the date?” State that no 

one claims to have written the first question so we will lay it to the spirits and 

pass it up. Put aside the slip you have just taken from envelope. Pick up the 

second envelope and glancing at it pretend to read its contents, “What is the date?” 

The writer of this question will acknowledge it as his or hers as it is not a “foolish” 
query. Pass on to the next question, after opening envelope of question you are 
supposed to have just answered. Continue this routine until you have read say six 
or eight questions. The last question held to forehead is, of course, the prepared 
one and for this one you give answer to question before it. Always make the question 
you prepare as foolish sounding as possible so no one will want to claim it. When 
properly presented it makes some folks wonder if the performer really has clair¬ 
voyant powers. Appropriate patter must accompany these effects. 

The LaVellma Spirit Message is done in this way:— 

EFFECT: A member of the audience is requested to write a message requiring 
an answer on their own paper. This can be sealed in an envelope of their own, 
placed in their pocket for safe keeping. Performer then gives a short discourse on 
Spiritualism and hands victim a sealed envelope containing a blank sheet of paper. 
Victim is now requested to tear open the first envelope and to read aloud the mes¬ 
sage he wrote, then he is requested to tear open the other envelope, withdraw paper 
from same, hold it over the heat of a lamp and spirit writing appears on the 
sheet of paper answering the original question written. 

MODUS OPERANDI: Victim is requested to take from his pocket a blank piece 
of paper. He is handed either a carbon tray (tray with carbon under top which is 
of paper, beneath which is several layers of paper upon which impression is made) 
or several envelopes may be lying on table and envelopes are handed to victim to 
lay paper on. Bottom envelope contains a piece of blank paper and carbon sheet, 
this one is slipped on top of pile, thus enabling the performer to get impression of 
writing. Impression is slipped by any suitable manner to assistant who quickly reads 
it and writes an answer on a blank sheet of paper and sealing same in blank envelope 
which in some way is laid on top of pile of envelopes which performer places on 
table. Performer tells victim to place paper he has written on in envelope, seal, 
mark and place it in his pocket. This is done in order to “stall” giving assistant time 
to get impression and write “spirit” note and answer same, writing with invisible ink. 

57 




Performer then bands the member of audience assisting him top (prepared) enve¬ 
lope containing piece of paper and already sealed (or assistant could write on pad, 
top piece) and leave it on table, performer tearing sheet off and showing it, place it 
in an envelope. 

Anyway . . . the envelope is handed to another member of the audience for 
safe keeping. Man is asked to read question he wrote and has sealed in his pocket. 
This is done. 

The other member of audience is requested to tear open envelope and performer 
holding match near same (to bring out the invisible writing) and behold! . . . Chord 
in B flat! The spirits from the Great Beyond have written the answer! When this 
effect is worked up well it will surprise you. 

This ends the specialty, performer makes his exit. 

ACT TWO 

Lady assistant (medium) is introduced. She undertakes and successfully carries 
out various tests which lead the audience to believe they have witnessed actual dem¬ 
onstrations in genuine Mental Telepathy. 

The performer goes into the audience and touches different articles which the 
medium from stage immediately names. This is done by pre-arrangement. 

Then comes the Mystic Pip Divination with playing cards. Performer shuffles 
deck, a member of audience cuts deck, and counts off, behind his back, any number 
of cards from one to ten. Cards are aigain shuffled by performer and an assistant 
brings down into aisle a small table. Medium is led down aisle to table (she is 
blindfolded throughout), handed pack which she deals out into a square or circle 
onto table until anyone tells her to stop. Performer then hands her a knife. She 
sticks knife into a card, turning to spectator ishe asks how many cards he moved. 
He tells her. Up comes the knife at point bearing a card on which the PIPS signify 
the number of cards moved. A full explanation of this mystifying card experiment 
will be found in my book, “VAUDEVILLE MAGIC." This variation of the trick will 
baffle the best informed ispectator as it is a mind reading stunt par excellence. 

Madame is now escorted back to the stage. Next I suggest an old favorite, The 
Clairvoyant Card Effect, which can be worked up into a mind reading effect with 
Madame naming the page at which a certain card is to be found. Here’s the dope on 
it:— 

A card is chosen, say the Ace of Diamonds, shown to spectators, then handed to 
person who selected it. Request this party to place it anywhere between the pages of 
a book held by another member of the audience. This is done and another dozen cards 
are also, and similarly, placed in different parts of the book. The book is held by a 
spectator throughout the experiment yet the medium, blindfolded and seated upon the 
stage, announces the page at which the Ace of Diamonds will be found. And such is 
the case. 

THE SECRET: A duplicate Ace of Diamonds is placed in the book before hand 
at the page previously agreed upon by the performers. The Ace of Diamonds is then 
forced upon the spectators; it is taken back by the performer, who holds it up for gen¬ 
eral inspection, then changes it for the top card, which may be anything. A daring 
performer might even dispense with the top chance, and thus, even the necessity of 
touching the drawn card, and which would add still more to the effect, but he would 
have to chance the discovery of the two Aces of Spades in the book at the close of the 
trick. 

The spectators, unsus-pectingly, takes the card and places it in the book, thinking 
it is to be the Ace of Diamonds. The dozen other cards are merely “blinds," but they 
add considerably to the effect of the trick, as the audience naturally believe the clair¬ 
voyant capable of naming the position of ANY card in the book. There are points at 
which the trick may fail, for instance, if the person looked at the card after the change, 
or if the person holding the book discovered the duplicate ace, but the experienced 


58 


performer is never troubled with such misfortunes. The effect may also be enhanced 
by asking the clairvoyant if she can see to read the first three lines of the paige that 
the card faces, she will of course have previously committed them to memory. Fur¬ 
ther, the book, may be prepared with TWO cards, BOTH of which may be discovered 
same as the ACE, then TIME NEED NOT ADMIT OF ANY MORE TESTS IN THIS 
DIRECTION, and go on to some other test. 

Now some Blackboard Tests are introduced starting with the experiment known as 
The Knight’s Tour (complete description and explanation found elsewhere in this 
book). After this puzzling experiment the board used is turned over bringing into view 
a plain blackboard. The first test is this: A card is carried into the audience upon 
which is pictured 1:—A square; 2:—A triangle; 3:—a circle; 4:—a circle within a tri¬ 
angle ; 5:—a triangle within square and 6:—a diamond within a square. A member 
of the audience selects one of the designs which is drawn by the medium on the black- 
b®ard. How does the lady on the stage know which one selected? Very simple. Each 
design has a number as shown above. The lady and the performer know the numbers 
and what they represent, in other words they have memorized the designs and num¬ 
bers. These numbers are signalled to the medium in this manner: 1:—Performer 
closes right fist; 2:—Performer pretends to cough; 3:—Performer touches his watch 
fob ; 4:—Performer places his right hand on hip; 5 :—Performer closes left fist; and 6th 
design is signalled by performer placing his left hand on hip. Medium “gets” the 
signal, as of course the blindfold employed is “doctored” so medium has no difficulty 
in seeing everything that is going on. 

Numbers to be written on blackboard say for number on bill tes't, by medium can 
be signalled to the lady by a speaking code but nothing is addressed to madame. All 
words and sentences spoken in a low tone of voice to members of the audience used as 
a committee by performer signify important cues to the lady. Here is a code: 

1. “The CHALK, sir.” 

2. “Write it CLEAR.” 

3. “Right HERE.” 

4. “PLEASE hurry.” 

5. “Very GOOD, sir.” 

6. “All RIGHT.” 

7. “That’s FINE.” 

8. “CONCENTRATE 1” 

9. “CORRECT.” 

0. “Thank YOU.” 

In performer’s patter he can inform the audience that the mind of the medium and 
himself are in complete sympathy. Telepathic contact is complete and the union of 
souls is perfect .... what he sees she sees and all in all, we lay no claim to super¬ 
natural aides but these so-called demonstrations of Occultism is the result brought 
about by long and continuous practice. 

After the Madame has called out the different numbers on a bill using the code 
just given, these figures are erased and the committeemen and performer write some 
numbers on the board and the medium calls out the numbers as they are pointed out 
by performer. Now and then he points at a blank space and the madame says there is 
nothing there. This is done by performer’s assistant tugging at thread which has been 
slipped on the lady’s wrist, by the lady, during some of the writing operations. When 
the performer strikes a blank space he does so allowing the medium, who is listening, 
to hear the pointer drop onto space and she at once calls out, “Nothing there!” Many 
other effects can be worked up in this manner. 

The following Novel Thought Transmission method devised I believe by a prom¬ 
inent English performer could be used if desired: Blackboard rests on easel. On table 
lies an eraser, pack of playing cards and blindfold. Blindfold is feked so the lady can 
see whatever goes on. The lady is seated, back to audience with blackboard at her 
left First the performer announces what he is going to do then hands out a pack of 

59 






cards to be shuffled. While this is being done the lady is blindfolded. Performer re¬ 
quests someone to place a sum of figures on the blackboard, say four figures each way, 
after which the -performer says he will not utter a word. Take the chalk from assist¬ 
ing party and draw a line under the sum, at the same time having previously added the 
figures, give the madame the cue for the first number of the total, with the finlgers of 
the left hand. Hand near the top of the board, thumb to the front, fingers to the back, 
where you hold the hand when you draw the line, one finger for one; two for two; 
three for three; four for four; and closed fist for five. Note these figures are given by 
holding the top of the board. If you wish to code six or more hold the board by it's 
lower half, which codes five more figures, and code as before. Closed fist at lower half 
codes “0” or ten. When the Madame calls the first figure to be written on board, when 
you are writing it code the second. After a bit of stalling, looking thru the finlgers at 
the back of board, the lady gives the next number, “I see a six.” (Or whatever number 
it might be that has been signalled.) And so on until the entire total has been given. 
Next point to various ,figures at random, and the Medium tells what they are, add two 
together, etc. These must be coded as before. By using the old “eight, King, three, 
ten,” etc., system or certain numbers committed to memory by both parties, by point¬ 
ing to a number, it is called by the Medium, and then crossed out by party at the 
board. Start again with another series memorized, point to an “8” when called, strike 
it out, then strike out a “6” and a “7,” the Medium says “13,” etc., or write down the 
“6” and “7” on the board, away from the other figures and one bracket thus, “(” made 
by one firm stroke on the board, is heard by the Medium and stands for “1,” draw a 
line below the figures, lettinig the chalk run over the side of the board signifies,' “3,” so 
both figures are given simultaneously and called “13” by the Medium, two brackets 
stand for “2,” etc. By practice one can often tell a figure written down by the sound. 
The effect is startling and worth the practice. Now hand the chalk to a member of 
the audience, and have them put a figure on the board, immediately they do so the 
Medium tells them what it is, repeat as often as desired. How the performer stands 
with his left side towards the Medium with left hand on the hip and simply works the 
same method as at the board, by showing fingers high on the hip, gives figures one to 
five, lower down six to ten. Now for the cards, when you first come forward and an¬ 
nounced what you were going to do, the blindfold was on table folded up covering six 
cards previously committed to memory by both parties: “8,” “King,” “4,” “10,” “2” and 
“7,” will do, in following order, clubs, diamonds, hearts, and spades. When the pack 
was given to be shuffled, and taken back, it was dropped on top of the pre-arranged 
cards, before blindfold was picked up Now take up the pack, and throw the six cards 
on the table face UP (standing behind the table with back to the Medium), take up 
the top card, look at it, for a few seconds when Medium says, “I see a black card, a 
club, yes, an eight spot,” and so on with other cards. A FEW TIPS: If there does not 
happen to be the required number on the board, simply write it down. To make the 
whole show impressive, do the adding up and the card stuff very slowly. 

A book of poems is now handed to some member of the committee and a duplicate 
to the lady medium. The committeeman is requested to turn to a page and select a 
page and a line of poetry for the lady to read. Thi-s is done and to the s'urprise of 
both the audience and the committee the Medium turns to the same page and reads the 
line they have selected. This can be done by using doctored books with pages all the 
same but in this method, which is superior, it is worked by signals. The performer, if 
he wishes, can force a page toward the front of the book, say page 22, on committee- 
man so medium will get signals easily. Although after a little rehearsing this test will 
be simple. Pages and lines are telegraphed by the Performer in this manner: 

1 _Right hand in trouser pocket. 

2 _Touching watch fob. 

3 _Touching shoulder of committeeman. 

4... .Left hand in trouser pocket. 

5_Taking committeeman by arm. 


60 







6 -Right hand poin'ting to book. 

7 -Performer turns back to Medium. 

8 -Left hand pointing to book. 

9... .Performer bends over committeeman. 

10-Snap of fingers. 

100... .Slight cough from performer. 

For example: Page 109 is telegraphed thus: Performer gives a slight cough and 
bends over committeeman as if to see book better. Paige 45 is sent: Left hand is 
placed in trouser pocket, then taken out and takes arm of committeeman, etc. 

The page of book is always sent first, then the line. This becomes easy after a 
bit of rehearsing. 

You can also transmit page and line numbers by finger system .... performer 
signalling with different fingers, opening and closing them, laying them on outside of 
book cover; at bottom of book; so Medium can “get" them. Many other signal codes 
will suggest themselves to the entertainer. 

This act can be brought to a brilliant finale by havinlg one of the committeemen a 
“plant" of the performer. Performer tells audience that to further prove the wonder¬ 
ful powers of the Medium he will request one of the committeemen to .loan him a busi¬ 
ness card and without a word being spoken the Medium will go to the blackboard and 
endeavor to write the name of the person which appears on the card. This should be 
worked up big. “Plant" (committeeman) hands performer his card. Performer tells 
man he must promise to concentrate, throughout this test, the name on card. Per¬ 
former makes a bluff at, studying name on the card, then tells man to ask the Madame, 
to “Ple'ase write the name that appears on the card he holds on the blackboard.” 
Music starts and plays very softly throughout this experiment. Madame goes to board 
and is handed chalk by one of the committee. Slowly, as if uncertain, she starts to 
write. Makes one or two failures which she erases, after groping for eraser on table 
.... again done to convey the impression to the audience that she is unable to see 
through the blindfold. This is good “business." Finally she writes the name ok black¬ 
board, man verifies it to be correct, and Madame pulling off blindfold, bows 'herself off 
stage. 

Performer ushers committeemen to rundown leading from stage and bows his 
acknowledgment to the applause. Music breaks out FORTE as the curtain descends 
on Act Two. 

ACT THREE 

It is suggested for the entertainer to dope out ifor himself methods to present my 
vaudeville specialty, “Twenty Minutes With The Spirits," a complete synopsis of which 
will be found in my book, “VAUDEVILLE MAGIC." This act is just the sort to hold 
attention and mystery. If performer prefers he can introduce, in this act, his favorite 
spiritualistic effects, not having the act run more than twenty to thirty minutes. 

ACT FOUR 

For the fourth and last act any of the Vaudeville Mind Reading acts or the Musical 
Silent Thought Transmission act (all described at length in this work) can be intro¬ 
duced. Or the Crystal Gazing club act can be used. 

To complete this two hour entertainment I will give another type of Mind Read¬ 
ing specialty which I doped out some time ago and had in my scrapbook ever since 
the death of my friend the late W. D. Leroy, who was going to put the act on the mar¬ 
ket. The act is a combination of methods employed by Various conjurors in the past 
but modernized to a certain extent and “framed" so that, with the proper presentation, 
will go over and impress a modern audience. 

Curtain rises on full stage, usinig if the performer carries a special drop with ap¬ 
propriate “wings." Stage is clear at rise except for a small skeleton fancy table which 
stand well down right at curtain line. 

Performer gives a talk on apparitions, fhe psychic, things supernatural and Mind 


61 





Reading. During this lecture assistants pass among the audience distibuting slips of 
paper and envelopes, requesting spectators to write any questions, providing it is both 
a reasonable and sensible one, on paper, sign it with their full names, seal it jin the en¬ 
velope and place their initials on the outside for identification. 

The questions are collected, carried upon the stage and either placed in a glass 
bowl where they remain in view of the spectators throughout the specialty or are 
burnt in a copper vase by the assistants. 

Performer, walkinlg about the stage but never coming within five feet of the table 
upon which the questions repose or have been burned, reads the initials as well as the 
questions and gives answers to the satisfaction of the writers of the queries. 

The performer can use a Crystal Ball to gaze into as if reading questions and 
answers therein or he can be blindfolded and Walk about the stage while 'answering. 

The slips or pads upon which the queries are written are not feked in any way. 
Bring your own paper and envelopes, if you will. The slips are placed in envelopes and 
sealed by the writers themselves. This can be done because the questions are collected 
in changing bags or a switch is made by the assistants while at the back of the house. 
(Dummy envelopes hidden on their person and switched for the real ones and of 
course, it is the dummy messages that are either burnt or placed in glass receptacle). 
Care should be taken when this switch is made. Look out for “rail hangers” in back 
of the theatre. 

The envelopes should be of two kinds .... one of a sort of linen finish and the 
other of a polished finish but both of the same color. In this way the assistant back 
of the scenes can signal, in method jgiven here, which side of the auditorium the ques¬ 
tion was written. The performer starts off 'his readings by getting an impression 
.... “I see a question written by someone seated on the right hand side of the 

orchestra. I get the initials So-and-So. The question seems to be-”. And he 

goes on to read the question and,answer it. 

The method, as I have written before, isn’t by any means new as it is but an im¬ 
provement over a trick wonder workers many years ago used to work ,in their enter¬ 
tainments, that in which about six rows of six figures each were called by spectators 
and the wonder worker, by telepathy (?) gave the result of the addition. This feat 
was accomplished by an assistant planted in the wings who jotted down the figures 
when repeated by the performer and totalling them up wrote the result of the ad¬ 
dition on a blackboard in fairly large letters with soft chalk which he (assistant) held 
up so performer, while pacing stage, could read and igive, figure for figure, the answer. 

This method of mind reading is very similar. It is worked by ,two assistants, one 
in right and other in left wing, back far enough so they cannot be seen by spectators. 
At rehearsals the Performer should sit in each of the boxes and down front in orches¬ 
tra and have assistants stand in wings to estimate the distance to front of wing the 
blackboard can be held without the spectators catching a glimpse of the modus oper¬ 
ands Chalk lines on stage (in wings to be exact) can be drawn to refr’ain assistants 
from going further during performance. .Care ishould be taken of this. 

Assistants stand on both sides of stage (right and left “wings”) each with a small 
blackboard, eraser and box of soft chalk. Soft chalk writing shows up better than with 
new pieces of hard chalk and hard chalk is apt to “talk.” Each assistant gets (from 
one of the collecting assistants who works in audience) a number of left and right 
“house” questions. When a question is opened the initials, name and gist of query is 
written on board in large letters preferably printed and all in capitals, .to insure per¬ 
former seeing them. 

When performer is “getting” questions .from ,the assistant in the right wing, the 
other assistant in left wing is preparing question on board and in this way time is 
saved. 

A bit of impressive “business” may be introduced by having the assistant write the 
name or initials of another querist on board beneath a line drawn, the performer stops 

62 






the question he is answering and remarks that he knows Mr. Blank (or initials) is 
anxiously wafting to have his question answered and he ^vill answer his question next. 
Performer then resumes answering the question he was working on when interrupted. 
These interruptions are very impressive and can 'be explained to the audience as ‘Oc¬ 
cult Thought Waves.’ 

Personal questions should not be answered during the act. Performer may tell 
audience tha’t queries of an linimate or personal nature must have the name and ad¬ 
dress of the questioner on slip. These questions will be worked on between the 
matinee and evening show or between the evening show and the next day’s matinee. 
Answers will either be sent through the mail or called for at the box-office. 

Performer can work in either evening clothes or Oriental costume. Assistants, who 
appear in audience, should be attired in Oriental costume if performer works in this 
garb or in tuxedos if performer works in evening dress. 

Throw a veil of mystery over all your work but at no time lay claim to super¬ 
natural powers. 

When a number of questions have been answered the Performer says, “The only 
word I can now see is ‘Sleep,’ which we all enjoy.” Pulling off his blindfold, after 
handing the Sphere of Hidden Mysteries to an assistant he steps to the footlights and 
thanks his audience for their kind attention and trusts that they have enjoyed and 
perhaps been mystified by “The Gambols of the Ghosts.” 

CURTAIN 


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63 






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